Texts
Luke Newbould in-conversation with Zhao Han
Sirocco Journal Nº3
2025
Zhao Han is a photographic artist from Chongqing, China. Using traditional silver gelatin printing, Zhao has exhibited at the Shanghai Biennale, Tokyo Photographic Art Museum, and the Arles Photography Festival in France.
My photographic style has developed closely with my experiences in recent years. Initially, I was deeply interested in documentary photography and spent a lot of time learning and experimenting. When the COVID-19 pandemic struck in 2020, everyone was confined to their homes amidst numerous tragedies. I sneaked out to take photos but returned home empty-handed and frustrated. This tragic period lasted for several years in China, where I spent all my time with my family. My wife cooked delicious meals daily, and my child was innocent and so adorable. The forest outside our window shifted between fresh greens and golden hues. These ordinary moments felt extraordinarily precious and peaceful. Gradually, I shifted my photographic focus to capture the scenes around me more attentively.
I have never consciously tried to link my work with traditional Chinese aesthetics, and the thought of doing so is somewhat embarrassing. The China we see today, formed from many small states, is a mix of numerous ethnicities, languages, architectural styles, clothing, and cuisines. To generalize such diversity under one aesthetic standard would be both terrible and hollow. I don’t have a high educational background, and know little about traditional Chinese aesthetics. However, I am fortunate to have lived authentically in this land. I am not a millennial; however, I was born just after China opened up, so I did not have to suffer from hunger or cold. My family relationships are very close, and we often travel and immerse ourselves in different cultures. Therefore, if my work possesses any perspective, it only comes from the genuine emotions of the individual, which brings me a profound sense of satisfaction.
Can you explain your process of developing a photograph into an artistic ‘object’.
This is a challenging question, which I can approach from two angles. First, from the perspective of art theory, I have not studied formally in an art school, nor am I clear on the specific definitions of ‘art’. I simply love and appreciate photography—it’s fun, enjoyable, and primarily a way to satisfy my hobbies and address my issues. Meanwhile, these images also resonate with many others. As the content grew, they naturally evolved into artistic ‘object’ during the process of organising and understanding the photographs.
On the other hand, from the perspective of actual photographic work, I spent several years learning photography techniques. There are many books and precedents that teach how to create an artistic ‘object’, but when I actually began working, those experiences and techniques often proved unpredictable. Images that deviated from my initial goals unconsciously coalesced into a whole, leading to a new artistic ‘object’. It is hard to describe this feeling precisely. For example, like composing a lullaby, sometimes musical theory does not apply, or like writing a personal letter, literary theories can also be ineffective. While precise and meticulous designs can indeed create an artistic ‘object’, I find greater joy in allowing photography to be spontaneously creative.
All Rights Reserved – Text © Zhao Han
Images © Zhao Han