In the field of Taiwanese photography, Shen Chao-liang is oftentimes regarded as an oddity and as a loner. In the 1990s, many artists turned to still photography as an expressive medium, abandoning the stylistic tendencies of documentary photography that had dominated image making in Taiwan during the second half of 1980s. These artists either ceased taking photographs altogether or diverted their interests to other aspects of the visual arts- with some turning to producing documentary films. ?
Shen Chao-Liang began collecting images for the Reflections of Nan-fang-ao project against overwhelming odds, as the world of classical documentary photography seemed no longer valid as a means of artistic expression.? However, loaded down with heavy equipment on his shoulders, Shen began one documentary project after another.? He began depicting each new subject with determination and persistence as he developed the conceptual framework of the chosen topic.
Towards the end of 2001, Chao-Liang delivered, in person, to my office the newly and beautifully printed photographic album titled Reflections of Nan-fang-ao. In his presentation, he impressed me with his unassuming nature, humble character, and his adherence to the tenets of classical documentary photography. I thought to myself: “What a rarity to have such a photographer in this era.”?
In the summer of 2004, Chao-Liang exhibited the body of work he had collected for Reflections of Nan-fang-ao at the “Taiwan International Visual Arts Center” in Taipei and for that occasion he asked me to write a review of the exhibition.? At the time, I was both skeptical and critical of the classical documentary style of photography. I was doubtful that such a photographic technique could reveal any relevant truth or begin a conversation charged with a political message.? Frankly, Chao-Liang’s work was of little interest to me, regardless of how outstanding his performance had been judged against the aesthetic qualities of classical documentary photography by others.? However, in the end, I felt obliged to write a short review titled The Classical Nan-fang-ao for the literary supplement of Liberty Times.
Although I rarely write reviews upon request, I found it difficult to refuse Shen Chao-liang’s request because the classic aesthetics of photography reflected in his images also describe the manner in which Chao-liang interacts with the world. Chao-liang is always modest, always polite, always persistent and always sincere.? He reminded me of the solid and quiet qualities that develop from Japanese traditions and education.? Chao-Liang, as a person, corresponds to the images he has captured of Nan-fang-ao, as both his images and his character are pure and harmonious.? Although judging the character of the photographer, as a person, is not necessarily or ultimately how one reads the photographic images, when one encounters the images of a person like Chao-Liang, it is hard not to acknowledge the presence of those pure and harmonious qualities and therefore I could not turn down his request.
The body of work collected for Reflections of Nan-fang-ao is extremely classical in its subject matter, visual language, and creative spirit. ?Despite the complimentary nature of my review overall, I still questioned Shen’s work: Can any attempt to use classical black-and-white photography be expressive as an art form in modernity? Can a humanitarian stance and the desire for the truth, in recording the plight of the working class, actually impact the living conditions of that place and those individuals recorded? Furthermore, if so, how should these two attempts, to be both an expressive artist and an agent of change, be reconciled through the results of a creative endeavor?
In addition, I raised the problematic phenomenon that exists in the field of photography today, a phenomenon that Chao-liang was very much aware of, which is: What if the creative mind behind the image prefers to photograph the underprivileged because of the innate persuasive visual impact of the subject matter? Is the photographer capable of capturing more demanding subjects? For instance, is the photographer capable of documenting “the norm and familiar” with equally provocative imagery? Can the photographer investigate the wealthy of society and achieve the same level of visual clarity in rendering that subject?
Chao-Liang addressed this phenomenon by setting out on a number of documentary shooting plans.? These various shooting plans included what is now a complete body of works that were included in his Masters thesis titled- Happy Landing: A Family Photo Album. As a body of work, these images document the work and everyday lives of a metropolitan, middle-class Taiwanese family of four.? He simultaneously developed images for a number of projects, that are still in progress, including: The Fish Market in Tsukij; The People and Gods of Asakusa; STAGE; and Taiwanese Cabaret as well as therecently completed body of work titled YULAN Magnolia Flowers (玉蘭). ?Shen Chao-Liang considers the images from the Happy Landing and the Taiwanese Cabaret series as distinctively different, a variation on the tenets of classical documentary photography in terms of technique, visual language and subject matter. In my opinion, although I too acknowledge the differences and variations, these images still adhere the same photographic tenets.? The images visually communicate using the same means and techniques of documentary photography through the capturing a decisive moment in a specific location.
Yet, we should acknowledge Chao-Liang’s efforts to explore his subject matter and his desire to develop a personal style. ?The subject matter recorded in the images from the series Happy Landing: A Family Photo Album were “difficult” to capture.? (The specifics and the degrees of those difficulties, as well as how the photographer dealt with those various difficulties are issues beyond the scope of this review and I shall not discuss those difficulties further here.) ?However, needless to say, Chao-liang was greatly challenged as a photographer. ?
The images forming the series titled STAGE were derived from the larger collection titled Taiwanese Cabaret yet both sets of images include subject matter that is extremely interesting. The images forming the basis of Taiwanese Cabaret reconstruct important cultural insights regarding a highly representative landscape of Taiwanese folk culture. The images that form the STAGE series are both culturally and anthropologically significant for their contemporary interpretation of the subject matter.? Since both collections, as bodies of work, are still in progress, I shall not discuss them further nor go into greater detail at this time for this review. My point being, that Chao-Liang continues to invest large amounts of time and energy into the process of capturing the essence of these documentary photographic projects. As a photographer, he has instilled great interest in these subjects for the viewer, the results of which we eagerly await with anticipation.
? Although Shen utilized new approaches and concepts when recording the images of the STAGE and Taiwanese Cabaret series, his enthusiasm for the traditional documentary photographic technique is very much evident when viewing the images of YULAN Magnolia Flowers (玉蘭).? In the case of YULAN Magnolia Flowers (玉蘭), Chao-Liang demonstrates a continued fondness for and interest in using the tenets of classical documentary photography to reveal various aspects of the subject and to establish stylistic tone.? As viewers, when looking through the large volume of photographic images, we discover that the creator of these images has spent an enormous amount of time and energy in documenting a variety of ancillary subjects throughout Taiwan.? Although the magnolia flower may seem plain or ordinary as a topic to document, Chao-Liang visually records various primary sources, adding visual texture to the subject by including: those who plant and harvest- along with their work and lifestyle; he records various modes of transportation and methods of sales; he captures the means of collecting and distributing goods at different centers; even to the detail of capturing images of the street vendors and buyers. ?
Shen presents the viewer with images rendering a range of different applications and uses of these flowers. Through this body of photographic documentation, the viewer is not merely connected to a nostalgic past and to memories of previous scent experiences. In addition, through this body of images the viewer is not merely reminded of the street vendors commonly seen, almost daily, amidst the urban landscape of heavy traffic. The images from the YULAN Magnolia Flowers (玉蘭) series evoke a visual understanding that those involved with magnolia flowers are both a network and an industry within a unique social and cultural landscape.? Without a doubt, YULAN Magnolia Flowers (玉蘭) is yet another example of Chao-Liang’s extensive photographic documentary projects that meticulously recreates a Taiwanese story with both breadth and depth regarding magnolia flowers as a subject.
As already witnessed from the images of Reflections of Nan-fang-ao to those of YULAN Magnolia Flowers (玉蘭), Chao-Liang has demonstrated his masterful skill, photographic ability and artistic talent.? Shen frames each image with a well-constructed composition and captures a decisive moment that is charged with visual interest and tonality.? His images are imbued with iconic and symbolic visual language that implies multiple layers fine and delicate meaning.? Since Chao-Liang has completed recording the images for the magnolia flower series, viewers might wonder how he will elevate himself to the next level of artistic expression. Viewers may well wonder if he will further his practice by applying similar aesthetics to his future work. The viewer may wonder, will new images emerge that demonstrate a similar photographic capacity but only applied to new subject matter? The answers to these intriguing questions lie in the future, as pursuing these questions is the task of the photographer and the work of Chao-Liang, because he alone feeds his artist temperament.
The recorded images of Chao-liang are not only a collection and reflection of his personal achievement as a photographer. These images are more importantly visual reminders for a modern day Taiwan, because they document important aspects of social and cultural concern as clearly witnessed in YULAN Magnolia Flowers (玉蘭).
As already mentioned, throughout in this review, I have expressed my great doubt as to whether classical documentary photography techniques are capable of describing the complicated layers of social/cultural issues in a meaningful manner today. One must question whether the documentary technique is capable of sparking enough interest to start a political conversation and if the image is powerful enough to act as an agent of change. The writer Roland Barthes suggests that the experience of viewing documentary photographs is derived from multiple personal experiences and that each experience adds a layer of meaning and/or understanding to the viewers’ interpretation of the image.? Barthes reminds us that today photographic images bear witness to a specific time and truth, however that initial meaning and original function can be complicated by modernity.?
Furthermore, through a large body of photographs, it may be possible to fabricate an image of some historical significance regarding a specific era. ?It may or may not be possible for at least a precise cross section of those photographs to represent that history in an unbiased manner.? If the images forming the basis of a historical cross section are unable to describe, with clarity, the complex nature and complicated structures of a specific era will at least the hard work and effort of the photographer leave some trace of photographic evidence for future generations?? My experience when viewing Chao-Liang’s work, since it uses classical documentary photographic techniques to capture images that will form the foundation of a historical cross section in the future, brings forth these questions yet again. It is the responsibility of the viewer to reevaluate and reconsider the essence and intended meaning of images that utilize the documentary photographic tenets in order to understand their historic significance.?
It is hard to imagine another Taiwanese photographer working today, who would willingly invest all of the personal time and energy that has gone into such seemingly insignificant projects like the magnolia flowers other than Shen Chao-Liang.? Chao-Liang’s work provides an opportunity for all of us to rethink the nature of documentary photography and to reflect upon its role in contemporary society. ?At the same time, we are provided with an opportunity to witness the actions of an image-maker persistently working at a solitary pace on an isolated path, who is steadfast in both his beliefs and commitment. In Shen Chao-Liang, we have a portrait of a photographer whose work is in the realm of classical ideals.?
Kuo Li-Hsin is a Lecturer for the College of Communication at National Cheng-chi University, Taipei, Taiwan.
English Translator: David Badgley. Tou Chih-Kang
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