To begin, could you provide a foundational overview of your artistic practice? What pivotal moments made you the artist you are today?

My work revolves around constructing a visualized world where identity, performance, and psychological tension coexist. I primarily focus on staged photography, treating photography as a process of "reconstruction"—not merely recording reality, but reorganizing memories, characters, and atmospheres. A significant turning point for me was realizing that images can be more than personal stories; they can also challenge broader social narratives.

Your practice visually explores the aesthetics of identity, performance, and visual tension within constructed spaces. Could you describe how you visually represent this exploration, and how did you become interested in depicting these themes?

The performances in the images, whether subtle movements or highly stylized poses, represent a negotiation between self and social roles. I also realize that "performance" can sometimes be a survival strategy. Implicitly, it expresses how the image of the "girl" who is being disciplined should appear, highlighting the indifference towards children within family dynamics and the realities of East Asian family life.

You are particularly focused on photography not as documentation but as “reconstruction—a deliberate and quiet act of image-making on their own terms”. Can you walk us through how you transform a moment or person into something entirely new through your lens?

I believe that using visual language to reconstruct concepts adds a layer of literary effect beyond mere documentary work. As the author, I can incorporate elements of my personal feelings into this piece, as well as materialize my imagination.

Photography has provided me with insights that other mediums cannot offer, such as composition and light design, the interplay of subjects, colour variations, and scene arrangement. This is a design of storytelling. I'm not particularly good at expressing myself with words, but I find it much easier to convey my thoughts through the lens.

I believe the camera is an extension of our sensory tools. When we view photographs taken by others, no matter how limited, we can grasp their perspective on the world. The way I see the world through my camera results in the world looking back at me in a different way. Sometimes, I struggle to articulate my feelings, and it's challenging to express them in words, but the photograph is always there.

In my philosophy, photography is not just a collection of digital images; it represents significant moments filled with stories and social issues that encourage me to create art. I aim for my work to provoke thought in the audience. I am particularly interested in exploring specific social issues. I believe photography is powerful, and mediums like news media, art galleries, and books can enhance the impact of my work. I aspire to achieve this goal in the future.

Your recent works engage with gender expression and transformation, focusing on China’s emerging drag scene. What can you tell us about the conceptual framework of this research? Do you have a particular series of work that embodies this goal?

I use photography to expose the truth. In my work, I encountered many Chinese drag artists and formed friendships with them, engaging with their communities and discovering how they express their identities. I feel honoured to capture these highlight moments with my camera. As a part of the LGBTQ community myself, I am acutely aware that these groups are not recognized or protected by law in my country. This topic is not openly discussed in China, and people instinctively ignore and overlook the rights and existence of this community.

I hope to combine my personal experiences with the expressions of my subjects in front of the lens to create images that encourage viewers to reflect and think deeply. The drag queen community illustrates my perspective on the world; escapism and desire are central themes for these performers. Many of their idols have overcome significant adversity. Icons like Lady Gaga and Madonna embody aspirations and resilience, providing a sense of hope for others. This reflects the strength found in these feminine elements, including the feminine symbols represented by these female icons.

The project “Alienation of Home” fosters moments of profound stillness and introspective reflection. What emotional and conceptual interpretation do you hope viewers gain from this series?

I hope that viewers experience a quiet sense of dislocation: recognizing the space yet subtly sensing something is off, fragile, or even intentionally arranged.

Which specific "normative visual codes" are you most interested in challenging, and what alternative visual languages are you developing?

For me, Nan Goldin is my inspiration. Her work, The Ballad of Sexual Dependency, feels more like a visual diary, telling complex and profound interpersonal stories through intimate and raw images of her friendships. Her lens is very close to the subjects, capturing natural environments and genuine emotions. I hope that the images I present can evoke similar thoughts and reactions in viewers, bringing overlooked and undervalued topics to the forefront. Non-heterosexual individuals are among us; they could be anyone around you. I aim not only to destigmatize sexual minorities but also to let others who have suffered know that there are people willing to speak up and fight for them.

As a lesbian from China, I have personally experienced misunderstanding and stigmatization, being labelled as "abnormal" or an "outsider" by traditional societal values. I deeply understand the pain of being unrecognized and the discomfort of people unwilling to confront this reality. To survive or avoid being seen as abnormal, I often had to conceal my identity or deliberately hide. However, after studying abroad, I gradually encountered others who shared similar experiences, which fueled my desire to give voice to our community. This is also a silent cry from me; I hope we can be heard and seen. It is not something to be hidden; it is magnificent and full of dramatic tension.

As an emerging artist, where do you see your practice heading? Are there new themes or mediums calling to you beyond conceptual portraiture?

In the future, I plan to photograph more Chinese drag queens as well as those from the UK, expanding the scope of this project. For now, I might not consider researching other marginalized groups at the moment, but I would love to expand my project with other groups in the future; I want to focus on completing this current series. This project is still not comprehensive enough, as these images only showcase their appearances after transformation, the versions they want others to see, or what they believe strengthens their sense of self.

My next step is to delve deeper into the true essence of drag queens, including the vulnerability they protect within themselves. I aim to strip away the exterior packaging to reveal their inner worlds and everyday realities, such as their jobs, families, and friendships, and to what extent these aspects are influenced by their identities.

From your perspective, how do art and artistic creation bridge the gap between global societal and political issues and the general public?

"RuPaul's Drag Race" is an American reality show, and the show's loving motto, "If you don't love yourself, how in the hell you gonna love somebody else," has profoundly influenced my thoughts and perspectives on this social issue. Currently, social movements are receiving more attention and engagement than they have in the past twenty years. For example, during Pride Month, there are varying levels of participation around the world, and even in China, there is increased discussion on these topics. On the surface, it seems that people are more accepting of open discussions about these issues.

However, reality still diverges from ideals, as there remains significant hatred, misunderstanding, and a lack of recognition towards the LGBTQ+ community. Only by continuously bringing this topic into the public eye, discussing it openly, and normalizing it can we allow the majority to learn about and understand the realities faced by sexual minorities over time.

This reflects the current social environment where the drag queer community, facing oppression and rejection, has united to support one another. This solidarity illustrates why I am compelled to use my camera to amplify their voices. I plan to extend the scope of this project to include a broader range of queer individuals, using my platform to combat the stigmatization of homosexuality and transgender identities. This is part of my future plans.

Finally, what message would you like to leave for our readers?

Hi, I'm Ruonan Shen. I come from China and graduated from the University of the Arts London. I have been passionate about visual arts since childhood, often attending theatre performances and reading art-related books. I believe that my upbringing has had a significant impact on my perspective. Through these readings, I gained insights into the cultural differences between the East and West, as well as their historical transformations.

Around the age of 17, my interest shifted from being an art enthusiast to a desire to create art. I began to engage more seriously with painting and photography, and I developed a stronger focus on contemporary artists from various countries. I strive to stay informed about what is happening in the world and how contemporary art influences people's thoughts and aesthetic values. 

Learn more about the artist here.

Cover image:

Bathtub, Alienation of Home series by Ruonan Shen.

Images courtesy of Ruonan Shen.