It’s one thing to be able to receive the same data-driven suggestions as someone else living a completely different part of the world, and another to come across novelty that transcends even today’s global reach of the Internet.
The democratisation of the photography via the smartphone camera has allowed images — universally understood yet infinitely complex as a language — to become the glue of the global online community. Greater reach and accessibility means a greater likelihood of fruitful and exciting creative collisions, but the warm glow of this multiplier effect somewhat wanes when the committing to the game of social media instead constantly overwhelms and encourages performative action, leading to echo chambers and a stifling of individuality and creative expression.
Inside jokes are no longer inside jokes if everyone is in on them, but this creative crisis is more than a coincidence to make light of for some of the world’s biggest professional image-makers. How does one stay relevant while being their most authentic self? If social media is always perceived to prescribe more than describe, how can creatives share their work without the application of the wrong labels — art or content? Or does it no longer matter?
Men’s Folio speaks to a special line-up of six image-makers — Peter Ash Lee, Rala Choi, Monika Mogi, Nikolai Ahn, Poyen Chen and Wing Shya — to find out. Here is what Poyen Chen has to say about creating images in a social media era.
Untitled (2021), Poyen Chen
If you were to describe your photography style to someone who has never seen your works before, what would you say?
Bold, eccentric, and paradoxical.
What about photography do you love the most? Has that reason changed over the years?
I love it as a medium to express myself. I love how light behaves in real life, the smell, and the tactile experience of prints in the darkroom. I love the subjects that appear in my viewfinder — I just love it as a whole. No, it did not change.
How has the smartphone camera changed photography for you and as a creative medium?
It’s more like a useful tool that serves as a visual memo and acts as an alternative when I don’t have my camera on hand.
What is the creation process of a photo like for you?
Usually, it starts with a feeling inspired by my encounters. I try to sketch it in my sketchbook and explore the possibilities or transformations it could undergo, then organise it into a photo shoot.
Untitled (2023), Poyen Chen
Which part of that process is your favourite? Why?
Unexpected moments that happen during the photoshoot — those unplanned instances captured spontaneously — are what truly inspire me. I believe these moments tap into our subconscious and drive us forward without the need for verbal explanation.
Fundamentally, photography is about recording — turning a fleeting moment into something permanent. Is there something you recorded but wish you didn’t?
No.
What about vice versa? Is there something you did not record on photo but wish you did?
Yes, that happens sometimes. Moments pass right before my eyes, and for various reasons, I don’t press the shutter in time. Well, f*** it.
Untitled (2023), Poyen Chen
What do you think is the biggest difference between taking photographs in your early career and now?
I’ve become more effective in understanding how a picture works for me. Throughout this journey, I’ve been inspired by certain people, both positively and negatively.
Given that we are living in a social media age where images make up a big part of communication (that has transcended the boundaries of time and space) and cultural exchange, how has social media affected your career?
It has definitely taken me to many places I never imagined visiting.
Does the prevalence of social media pressure you to create for the platform? Why or why not?
Not at all. I’m deeply invested in physical print work, so as long as the image looks good both on a phone and in a magazine, it’s satisfactory for me.
Untitled (2022), Poyen Chen
On that note, do you feel like the speed of image production on social media encourages an echo chamber of material and inspiration that limits cultural diversity? Is it necessary to make a conscious effort to keep your point of view authentic and original?
Definitely. But the necessity arises only when you’re inspired by something on social media or similar platforms, which I’m trying to avoid at the moment. Nowadays, it seems more common for artists to use the same ideas but present them from different perspectives. True originality feels almost impossible now; “hybrid” is the more appropriate term in this context.
Last but not least, what advice would you give to creatives who are trying to find a unique point of view to share with the world?
Pay attention to what’s happening in real life rather than just on our phone. Be mindful of the things around us and the immediate feelings they evoke, and consider how they influence our work. Most importantly, cherish the people who are still part of our life.
Once you are done with this story, click here to catch up with out November 2024 issue.