Firstly, tell us a bit about yourself and what it is you do.

I’m currently finishing my MA programme in photography at Royal College of Art. Before I l moved to London, I was studying in a film academy in Beijing, where I was born.

How did you first get into photography?

I was suffering from a very deep depression when I was in secondary school, during which time I was trying very hard to find a way to mediate and cure myself. The feeling of isolation makes me focus on everyday observation. As I hoped for, I got a film camera from my dad as a birthday gift.

Describe your working process. 

It’s quite difficult to describe my working process; I guess I’m quite flexible at the moment. Sometimes I work very intuitively, so I just take pictures when I see something that evokes me.

Sometimes I start a project after I have some concrete ideas. So it really varies.

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Your series The Fuzzy Time focuses on a seemingly random collection of subjects, and photographic viewpoints, which have visual links to each other. Were these variations preplanned, or did it happen naturally?

I think it came quite naturally as I didn’t expect it, sometimes it’s just about the timing. I feel that there must have been some subtle intention when I was doing it but it happened quite unconsciously. It’s kind of interesting when you see the visual links afterwards.

Your photographs show an excellent use of artificial lighting – particularly your On the Dark Side series. What inspires you to manipulate the light in this way?

I documented the environment’s light. I got a sense of how to use the environment lighting more effectively. I think that I have benefited from the training I had when I was in film academy. I watched lots of film during that time, and was very fascinated about creating certain type of atmosphere to fit an emotion expression.

on the dark side

Which photographers influence you visually?

Luigi Ghirri and John Divola

Your Animism  series appears was photographed in a museum. Why did you choose this subject matter?

I’ve been fascinated by museums since I was a kid: my grandma always took me to visit different museums. They are kind of like a ‘haunting’ childhood memory; in a good way.  animism

Likewise, your project A Brief Study of the Ancient History is taken in museum. The tableaux already tell a story. Do you feel your photographic input alters the story?

I think so, the tableaux tells historical stories which I’m not truly interested to approach within my project. I try to question the function of the displays and also redefine the space, exploring the absurd nature of phantasmagoria.

ancient history

I really like your In a Manner of Speaking (8am – 8pm) series, for its delicate sleepiness, and sense of lightness. Describe your motivations for the project.

It’s about exploring the ambiguous nature of reality, and the extraordinary encountered or constructed moments in everyday life. I’m engaged in creating a poetic photographic language to approach something very metaphorical.

Tell us a bit about your Domestic Random series. The images focus upon forgotten aspects of the domestic space; what drew you to the areas you photographed?

I always believed that the interior tells the story, and also it reflects the psychological state of individuals.

domestic random

Lastly, tell me about your favourite project you have worked on. Which do you feel is your best individual image?

It is quite hard to answer which project is my favorite one, but if I had to choose, I think it would be the project I’m still working on – In a Manner of Speaking (8am, 8pm) I’m making a book of it at the moment as well.

See more of her work at wenfeiyi.com