Yu Hao
- Anna Lilli Garai
- Aug 12
- 2 min read
Yu Hao is a photographer based in China whose work blends observation and concept. His images often reflect on class, fashion and personal identity, shaped by his own upbringing in rural China. He combines elements of documentary and fiction, using photography, video and books to explore how personal stories connect with wider social structures. Projects like “Only Attitude Deserves Praise” and “Invisible Castle” use these formats to create layered, immersive narratives that are both precise and emotionally charged.
Q: Your work moves between documentary and fiction. What first led you to question the boundaries of traditional documentary photography?
A: My journey began with a deep dedication to documentary photography, capturing the real world through unconventional perspectives. Over time, I came to realize that even this approach constituted a form of fiction. Gradually, I started weaving in my own conceptual frameworks, ultimately constructing new worlds through my lens.
Q: Fashion, class, and marginalization often appear in your images. What draws you to these subjects, and how do you choose which stories to focus on?
A: I was born into a rural Chinese family where my androgynous expression was consistently suppressed by elders. This personal experience fuels my conviction that fashion should be a universal language, not an exclusive privilege of the elite.
Q: In projects like “Only Attitude Deserves Praise” or “Watch/About ‘me,’” how do you balance personal perspective with broader social critique?
A: I believe that only through the microscopic lens of perspective can we pierce the point of social constructs. When intimate experiences crystallize into visual daggers within my work, they generate resonance with broader communities — my wounds ultimately mirror the collective bruises of the era.
Q: You’ve exhibited in major institutions from London to Chengdu. How do you adapt your visual language across different cultural contexts?
A: Viewers from different regions might connect with my work in different ways. What I aim to do is help diverse audiences resonate more personally with the core concept behind my pieces.
Q: You often work with photobooks and video installations. What role do these formats play in how you shape your narratives?
A: Flipping through books is itself an act of discipline. For my “Invisible Castle” project, I modeled the book interaction after my family's genealogy albums. The video installation creates an immersive journey for viewers, while the hybrid language of mediums reflects my belief that contemporary art demands layered narratives — no single medium can fully express complex ideas today.
Q: What kind of shift or reflection did your solo show “XiaoDao” mark in your practice, if any?
A: “XiaoDao” marks an evolutionary stage in my practice, unfolding a personal reimagining of utopian construction through this solo exhibition.
