Feng Ish
Out with the banal, in with the extraordinary. Montreal-based photographer and creative director Feng is breaking the mold of the portrait genre. Bold, nostalgic and completely trippy, his work isn't just out of the ordinary, it's cutting-edge.
Feng [f-uh-ng] offers us a much-needed new perspective to photography in Montreal. His style is eccentric and fun, giving us a breath of fresh air from the conventional stale portrait. Predominantly referencing tales, lore and symbolism, he introduces stories and context to his striking photos without force-feeding them to you, leaving ample space for interpretation. He plays with color and movement, as well as with prosthetics and cosmetics, creating incredibly dynamic settings that feel supernatural at times. While his work is packed with impactful visual material, it still feels gentle on the eye. Feng has mastered duality by including fictional elements to mundane settings and exploring the limits of what makes us human. We had the chance to sit down with him and find out more about his unique vision.
Hi Feng! I love the subtle elements in your photos, like the use of micro/macro. For example, in the piece La Symétrie, the observer is so captivated by the over-empowering components like the model's stare, dramatic headpiece and smeared lipstick, he might not notice the tiny ants crawling on her shoulders. Are these types of details part of the original concept or do they take shape as you're shooting?
I always have a general narrative before I start shooting. I usually give the project a time period, sometimes set in a dystopian era or the 90s. That sets the mood, a very nostalgic one at times. Then I go on with it having a story. Through the research process I puzzle the visual elements, creating a universe for the project. After laying out this foundation, a lot of these smaller elements render themselves during the shoot or after. For that particular image, it was shot in a bridge tunnel I used to visit a lot when I just immigrated to Canada. While revisiting it the other day just walking home, I realized the tunnel looked familiar yet seemed out of place, like it could be set somewhere else. It also had a really grungy vibe. It got me thinking about different concepts I could do for a shoot there. So, I did research on religious symbols, mythical stories and folklore from the 1500's, like mermaids and such. I incorporated these dark eerie themes to the overall look for the project. This specific portrait happened randomly while doing tests with the lighting. In post-production, I realized the picture was amazing and I could add more elements to it. The ants kind of just naturally happened. I was inspired by old traditional paintings, in which ants and insects symbolize decay or death.
It's beautiful when a piece has such an elaborate process behind it. It really showcases how meticulous you are. You have a true dedication to creating a complete universe for your work. It's sad many maybe won't take the time to notice it, scrolling through Instagram.
Yeah, it's crazy how social media has shaped art. The attention span is so limited now. But I still want to stand by adding these subtleties. Good art merits attention to detail. I want to stay true to my vision. Even though they may not be as loud as the rest, these details are so important to me.
Earlier, you quickly spoke about the 90's. Your work seems really reflective of its grungy aesthetic, featuring high-angle shots and fish eye lenses, and even referencing movies like Fallen Angels. What is it about that era that speaks to you?
I was born in the late 90's, so I didn't truly get to experience that period. I have a tendency to romanticize things, but I feel like that decade is kind of a utopia. Not to be pessimistic, but nowadays the world is so chaotic and dark. In the 90's, everything was simple and full of hope. Now in an apocalyptic-like world, that time period and its beautiful nostalgic imagery comforts me in a way. I do like adding a contemporary twist on that aesthetic though. As we slowly move into the era of AI, I wonder how humans will exist in the future. How will we evolve biologically to cope with natural disaster? I explore that theme by adding element of absurdity in my photos. Adding horns or something inhuman to the models.
It's clear your pictures showcase a lot of whimsical prosthetics and makeup. Working with such incredible MUAs and stylists, how do you find the balance of being inspired by their craft without being overshadowed by it?
I've been blessed with the opportunity to collaborate with such amazing artists. Generally, I'm in charge of the artistic direction. I will identify what i like in their work and then find how our visions click, creating an aesthetic overlap. Sometimes, I will trust them blindly. I'll give them a general direction and let them explore the theme as they wish. It really expands my perspective on the project and its process from which I can learn. But most of the time, I'll find a concept everyone will enjoy working on. Recently, I've been doing a lot of creative projects, they are the purest form of output. Not shooting for a client, just for the sake of creating beautiful images.
Your creative projects are your main form of artistic exploration, but you've still been working sporadically with clients, big brands like SSENSE and Vitaly. How were those experiences compared to smaller shoots?
They do feel like more of a job. Usually the brand sees something in my work that will fit their look, so they do want the images to feel like my personal work to some extent. But, you need to make compromises and don't have as much of a say. These shoots aren't my most genuine output, but I make peace with that. I remind myself I'm creating a visual story to promote a product. I'm grateful for them as it shows my range, eventually attracting more clients. I'm lucky most of the brands approaching me want me to add my own perspective to the creative direction. I want my style to be so bold and distinct, that when someone looks at any of my work, even advertising gigs, they will recognize it's made by me.
Your style is unmistakable! To me, it's mainly so sticking because it feels so dynamic. To create movement and illusion in your images, do you rely essentially on post-production or do you use other maybe more practical techniques?
I usually prefer doing things more analog. I love practical effects in older movies, even though they may look at times tacky. If I had a bunch of money for my shoots, I would only rely on hand-made prosthetics and sets. Right now, I have limited budgets, so there are a lot of digital manipulations. I try to keep them done in a tasteful manner.
They are, no worries. There is so much happening in your photos. But in the end, is photography for you a tool for story telling or is it more about creating visually stimulating imagery?
I think both are valid. My goal is different with each project. Sometimes it's a story I want to portray, sometimes it's just based off an image I want to bring to life. Depending on my mood, one of these aspects will take more importance. It happens a lot that my photo looks good but doesn’t make any sense. But in a way, by simply existing, it already makes sense. Art sometimes just happens and doesn't need meaning or to try to explain something. “Show don't tell”. I think, these images are powerful enough to stand by their own. Everything is in the image, then interpretation is your own.
With or without a story, your pictures all share an aspect in common; they are visually fascinating. I noticed one of your earlier series, UNOTHERED, feels different from the rest of your more intense projects. What enticed you to propose such a minimal and intimate series of portraits?
That was a very special project for me. One of my makeup artist friend reached out to me during the peak of Asian hate at the beginning of COVID-19. This series was all about honoring the Asian community. It was really hard to plan with all the restrictions. Plus, we collaborated with some older people, who were at higher risk. But, we pulled it off through! I want to do more projects like this. I usually detach my work from me as a person. I don't like referencing my background as I find it can limit me artistically. Still, there is a part of me that wants to show that personal side in my work. I guess, at the appropriate time. When your art is too self-referential and you're from a minority, it can be categorized or, for lack of a better word, stereotypical. I am Chinese, I am queer, but there is so much more about me that isn't related to those labels. I want to fully explore myself as a person in my work. While those aspects are important to me, I don't want to over-address them. While minorities are still being overlooked, they are slowly getting some opportunities and are being showcased more than before. But I don't want to be tokenized for the need of representation of marginalized communities. You choose me because you like my vision. You choose me because of my work.
interview CLAIRE LAMARRE-NIEMI
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