In the convergence of the past and the contemporary, an intergenerational space paves the way for the witnessing of life itself (and lives of many, at the same time). Future Chinese Yao Experiment 2405 is a photography and styling project that, without falling into the statism of tradition and praising the authority of memory, follows a road that preserves an unchanging essence beyond the boundaries of intrinsic beauty. Di Wei is the photographer behind it, who creates across musician photography, poetic personal works like this one and fashion.
Emphasising the value of customs and the importance of the transcendence of folklore into modern life, Di Wei embarks on a project that seeks to justify the need to extol the space occupied by cultures through the melodic character of photography, intensified in its holistic state, but underlining the importance of each one of its layers, populated by individuals with stories to tell. Just like Di Wei.
Having embarked on a key project in her career, the Asian photographer aims for a change of perspective that look at the erosion of the passage of time, and of those who are part of it; with a name and surname.
Hi Di! Welcome to METAL! Before we dive into the interview, let’s break the ice and get to know each other better. Tell us about your newly discovered obsessions.
Nihao METAL! Recently, I’ve become fascinated with reinterpreting photography through literary narrative techniques which have helped me to construct complex visual stories.
Let’s get to know the person behind the lens before jumping right into Future Chinese Yao Experiment 2405. What was your first approach to photography?
When I was 16, my father passed down a Nikon camera to me. It wasn’t until my twenties, when I was living in Los Angeles, that I started taking spontaneous street shots and creating images for music. These moments made me realise that the lens not only captures reality but also translates emotions and tells stories.
Was there a pivotal experience when you discovered it could be your career path and something to live off?
Actually, no, it all happened quite naturally. The process of creating an image from nothing is a beautiful thing and I always enjoyed it. Perhaps it also aligns well with my personality. My everyday life is generally slow and peaceful, but photography allows me to unleash and explode.
You’re a music-artist photographer and have taken part in lots of groundbreaking album covers and photoshoots with which you have earned your place and status in the industry. What is the connection between music and photography? How do you try to portray it and leave your personal mark at the same time?
Music and photography, for me, are a form of resonance; both are filled with rhythm, melody, and emotion. I enjoy abstract and bold styles that allow these visual rhythms to form a strong emotional connection with me. The camera is like an energy catcher, freezing and locking in a certain energy and feeling.
Music makes your body dance through frequency. In photography, there are also many instruments and conductors, such as stylists, producers, and art directors. Often, shooting is like improvisation in jazz, with a group of people expressing themselves passionately, creating surprises in the moment, much like a band.
Maintaining a personal style when working with musicians is certainly more challenging, as most artists have their own independent styles. I often approach shooting as a conversation, or even a meditation, trying to stay true to my feelings and listen more attentively.
Music makes your body dance through frequency. In photography, there are also many instruments and conductors, such as stylists, producers, and art directors. Often, shooting is like improvisation in jazz, with a group of people expressing themselves passionately, creating surprises in the moment, much like a band.
Maintaining a personal style when working with musicians is certainly more challenging, as most artists have their own independent styles. I often approach shooting as a conversation, or even a meditation, trying to stay true to my feelings and listen more attentively.
You’re heavily inspired by Asian culture and folklore, but you must hold place for inspiration from other artists. What would you define as your main influences in the field?
My inspiration comes from a wide range of sources, including the traditional cultures of ethnic minorities in Southwest China, Western Street culture, and the experimental works of avant-garde artists. I deeply admire musicians like Sun Ra and Erykah Badu, whose creations transcend time and the systems they exist within, while also being vulnerable and expressing delicate emotions. Often, the responsibility of an artist is to boldly make mistakes — something both difficult and beautiful.
You have also dedicated your artistic work to other fields like directing. How do the arts merge with each together in your work?
Directing allows me to have a more comprehensive control over the narrative of a project, from composition, to theme, to visual effects. Especially in Future Chinese Yao Experiment 2405, the director’s mindset helped me present a multi-layered cultural story from a holistic perspective, examining the narrative modes of visual expression. There was a lot of room for experimentation in terms of both logic and aesthetic appeal.
When did you first began thinking about Future Chinese Yao Experiment 2405 as a project?
I divide half of my life between the mountains of Southwestern China and various metropolitans like Shanghai. These two very different lifestyles have gradually shaped my understanding of the traditional ceremonies, clothing, religion, cuisine, and family relationships of the Yao people in Yunnan. Living alongside them has given me the opportunity to reconsider the meaning of culture, as well as how to translate traditional aesthetics and profound vitality in a non-judgmental way within the constantly evolving modern context.
What was the creation process like?
We dedicated a lot of time to researching the history and cultural traditions of the Yao people. Through field investigations and communication with community members, we gathered detailed insights into their way of life, rituals, and beliefs.
During the shooting phase, I wanted to create a visual language that was the complete opposite of a documentary or textbook-style portrayal of Yao culture. It was rebellious because we genuinely felt that the Yao clothing was incredible — many of the pieces are unique and will never be recreated. We didn’t want them to end up in a museum. Stylist Tsubomi Wang combined traditional garments with modern fashion elements to create a visual language that both respects history and looks to the future.
The timing of the shoot coincided with a traditional Yao festival. We lived and ate with the villagers, often drinking together. When the feeling was right, we’d rise from the dinner table and quickly prepare into battle mode to capture the shots.
During the shooting phase, I wanted to create a visual language that was the complete opposite of a documentary or textbook-style portrayal of Yao culture. It was rebellious because we genuinely felt that the Yao clothing was incredible — many of the pieces are unique and will never be recreated. We didn’t want them to end up in a museum. Stylist Tsubomi Wang combined traditional garments with modern fashion elements to create a visual language that both respects history and looks to the future.
The timing of the shoot coincided with a traditional Yao festival. We lived and ate with the villagers, often drinking together. When the feeling was right, we’d rise from the dinner table and quickly prepare into battle mode to capture the shots.
Before embarking on the execution, you had to do some research on the Yao culture and ethnicity. How did you decide that this would be a great representation of the connection between past and present? FCYA2405 represents the heritage of ethnic minorities, mixed with modern and contemporary items. A cardboard McDonald’s necklace and a basketball court are the most striking elements. Aside from the obvious, can you explain how future and past merge through this images?
The contrast between traditional garments, wedding rituals, and modern objects reflects the intertwining of history and contemporary life. These elements symbolise the continuity and adaptability of culture — they are deeply rooted in tradition yet continuously evolving toward the future. In the context of globalisation, how do cultures adapt, sustain, and even redefine themselves?
The photograph with the McDonald’s necklace was taken inside an abandoned circus, which in itself carried an absurd atmosphere. Stylist Tsubomi Wang aimed to enhance that sense of dissonance through the design, while also posing a question to the audience: in the face of the cultural penetration and invasion brought by globalisation, how do you perceive your own cultural identity?
The photograph with the McDonald’s necklace was taken inside an abandoned circus, which in itself carried an absurd atmosphere. Stylist Tsubomi Wang aimed to enhance that sense of dissonance through the design, while also posing a question to the audience: in the face of the cultural penetration and invasion brought by globalisation, how do you perceive your own cultural identity?
Having been born in Asia, do you think it is easier for you to connect with this type of project? Do you think you would be able to portray it in the same way if you were not? What were some ethical challenges you faced when representing ethnicities other than your own? How have you worked with the Yao community to ensure that their stories are told fairly and respectfully through photography?
This is a very valuable question. We often joke that we are newly enrolled anthropologists, because many times we need to approach customs and traditions through an anthropological lens to understand their deeper meanings and contexts. In fact, regional differences are very subtle; even though I was born in China and have lived with people from different regions for a while, there are still many differences. China has over 56 ethnic minorities, each with its own unique culture and system. To avoid stereotypes and ensure we accurately convey their stories, we make every effort to study, research, understand, and respect their wishes and cultural values.
How has your work as a music photographer influenced FCYA2405?
Music photography has given me a deeper understanding of rhythm and emotion, concepts that are also present in FCYA2405. I try to translate the rhythm of music into visual rhythms in the images, such as the play of light, the distribution of shadows, and the layering of colours. I can say that music photography has cultivated my sensitivity to dynamics and emotions, and this quality had the chance to be unleashed in this project.
You’ve talked about how a strong visual impact is one of your most distinctive techniques, as well as using abstract manipulation of light and shadow. How have you managed to preserve the essence of the image even in the editing process? Which characteristics were you most eager to highlight? Have you found yourself aiming for new techniques during the whole process?
In post-production, I always try to keep it minimal while enhancing the visual impact through abstract manipulation of light and shadow, as well as colour combinations. For example, when working with the details of traditional costumes, I strive to preserve their texture and tactile quality, to feel their historical weight. In shaping the atmosphere of the scenes, I use modern techniques, such as dynamic light layering and soft-focus processing, to amplify the dreamlike and futuristic qualities of the images while giving each photograph an independent narrative language.
But, aside from an intentional aim for visual impact, you have tried to do justice to the importance of tradition even in modern times. With movement and vibrant colours. How do they all work together in these projects to fairly represent their reality?
The sense of movement and vibrant colours in this project symbolise the vitality and energy of culture. I incorporated modern street shooting style and captured the dynamic postures and rituals of the Yao people, attempting to showcase the dynamic nature of culture rather than presenting it in a static manner. At the same time, colour serves as a crucial tool in expressing the cultural essence.The collaboration of these visual elements helped me construct a cultural reality in the images that is both authentic and poetic, paying homage to the past while experimenting with the future.
How do projects like FCYA2405 help in the understanding of the beauty within tradition and cultural diversity? Especially towards those so unknown to the western world? How can photography be used as a statement?
Photography could serve as a bridge for traditional culture to engage in dialogue with modern audiences. Its impact is unknown, but in terms of time, it is an inevitable act. I imagine myself as a medium, like blood, allowing culture to flow through my body to different destinations. The act itself is the message.
