Jingyi Zhang

Jingyi Zhang is a New York and Beijing-based artist working with photography, video, and interactive media. Her project "Oasis" reflects a quiet, thoughtful approach to image-making, shaped by Buddhist philosophy and a deep connection to the natural world. Through subtle compositions and spacious framing, she explores how water, light, plants, and land can reflect inner states and shared conditions. Zhang often treats landscapes as performers in their own right, letting their presence guide the pace and rhythm of the work. Her background in media and performance informs a visual language that is both precise and open, inviting the viewer into a slower way of seeing.

Oasis - Photography, 2024

Q: What first drew you to the idea of natural elements as vessels for human intuition and the subconscious?

A: I believe it was a kind of serendipity. I've loved nature since I was a child, and during the process of photographing it, I realized that the natural elements captured through my lens often appeared in completely different states. These differences seem to reflect a certain intuition within me—something instinctive and unspoken that flows through the image.

Q: Buddhist concepts like Pratītyasamutpāda and Śūnyatā play a role in “Oasis.” How did they shape the way you approached the camera and composed each frame?

A: When composing a shot, I deliberately leave more space in the frame to invite imagination. I believe photographic images shouldn’t be overly filled or crowded—they should breathe. This sense of openness is deeply informed by the Buddhist notion of emptiness. Since all things arise from conditions and dissolve back into them, I want my compositions to leave room for multiple interpretations, allowing viewers to discover their own meanings within the work.

Q: You describe the island as a threshold between time, space, solitude, and connection. When did that image become central to the series?

A: For me, the island has always carried a certain tension—it is both grounded and drifting. In both visual and literary contexts, it represents a kind of floating state. Though it connects to the mainland, it often drifts away, symbolizing a place that is solid yet detached from reality. I see the island as a passage into a more spiritual realm, beyond the constraints of the everyday world. Through this image, I hope to lead viewers into an inner landscape of contemplation and escape.

Oasis - Photography, 2024

Q: There’s a quiet restraint in your visual language. How do you decide what to hold back and what to reveal?

A: I believe what remains in the frame should be the most compelling visual elements. I often highlight a key subject while intentionally minimizing or removing distracting imagery in the background. This may seem a bit strict, but I find it essential for maintaining both visual harmony and conceptual clarity. It’s a way of guiding the viewer’s attention with intention.

Q: You’ve worked across photography, video, and performance. How did your background in these different forms influence the making of “Oasis”?

A: While creating “Oasis,” I deliberately approached the work with a montage-like sensibility—thinking in terms of how different landscapes could be brought together in one visual narrative. I also imagined “Oasis” as a kind of performative theater. But here, the protagonists are not humans; they are extraordinary plants, animals, and natural phenomena. Their presence sets the stage for a different kind of story to unfold.

Q: What kind of inner shift, if any, did this series bring you during its creation?

A: While working on “Oasis,” I encountered landscapes of amazing beauty—at a time when I was feeling restless and anxious inside. This project gave me a surprising sense of calm. Just as nature is filled with wonder, destruction, stillness, and movement, so is our human experience. That realization helped me embrace uncertainty and accept the coexistence of all things. It taught me to be more open to whatever life brings.