Photographer based in London, UK
Tianzhou Yang, portrait of the photographer
Tell us about yourself, what's your background?
I was born in Beijing in the late 20th century, during a time when China was still relatively closed off. Art exhibitions were quite limited, and people had a vague understanding of art and photography, often thinking that art was merely about creating beautiful things. The first "art" exhibition I remember attending was a Gaudi architecture special at the Capital Museum in Beijing. The large-scale photographs and models left a deep impression on me.
Architecture Without Context? - 2023, Beijing, China
Perhaps the Gaudi exhibition planted the seed of architecture in my heart. I went on to study architecture at university and later continued my studies in London, focusing my photography on architecture and space. So, rather than considering myself an artist or photographer, I see myself primarily as an architect, with photography serving as my medium to explore and discuss architectural issues.
Shabikah, Tunisia, 2024 (Project Title: Ephemeral Eternity Date: 2019 - 2024)
"Rather than considering myself an artist or photographer, I see myself primarily as an architect, with photography serving as my medium to explore and discuss architectural issues."
Tozeur, Tunisia, 2024 (Project Title: Ephemeral Eternity Date: 2019 - 2024)
What are you currently working on and where did the inspiration for it come from?
I am currently working on a long-term photography project focusing on cemeteries around the world. I believe cemeteries spatially represent a culture's understanding of life and death. The forms of cemeteries vary greatly among different cultures in Europe, Africa, and Asia, which I find fascinating. Cemeteries also reflect the evolution of societal ideas. For instance, in Italy, old cemeteries often feature elaborate family chapels, with their structures and scales reflecting social class and status differences. However, one of Italy's most famous modern cemeteries, San Cataldo Cemetery, standardises the size of each ossuary, reflecting democratic ideals.
Left: Ponte Sesto Cemetery, 2024. Right: Tomba Brion, 2019
San Cataldo Cemetery, 2024
The inspiration for photographing cemeteries came from many architects I admire who have designed such spaces. During my travels, I often visit and study these designs. New cemeteries are frequently built adjacent to old ones, creating an interesting tension through the juxtaposition of different periods.
Family Chapels in Old San Cataldo Cemetery, 2024
Describe your practice and process. Where do ideas start for you? In the studio or being in the world?
Choosing subjects to photograph is a significant challenge in my work. Architect Frank Gehry once openly expressed his dissatisfaction with the abundance of dull buildings, claiming that only 1% of the world’s structures can be considered architecture. To some extent, I understand his viewpoint. Many buildings within a capitalist context become commercial products, lacking substantial thought and perspective, resulting in featureless, assembly-line structures. Additionally, the celebrity packaging of architects often leads to many so-called masters producing formulaic and uninteresting work.
Cretto di Burri, 2022
When selecting subjects, I often focus on the work of architects I admire, using their connections as a foundation to explore the work of their respected colleagues or even buildings that served as their inspiration. Many of these are not necessarily famous structures but rather a series of monasteries or water towers, what can be considered “architecture without architects.”
San Michele Cemetery, 2020
Often, the formation of a series of works is a natural result of accumulated efforts. For instance, the current series of works I’m presenting stems from a recent typological sorting of projects from the past few years, rather than starting with a preconceived idea. As the total number of photos I take increases, I find myself photographing less frequently, instead spending more time re-evaluating and organising my existing archive. By posing the right questions and finding suitable clues, I can then organise new series of works.
Left: Observing how people living or working nearby interact with the building.
Right: Understanding architecture's relationship with its surroundings El Jem Amphitheatre, 2024
How do you make your work, does it start with a sketch?
Unlike many photographers, since my subjects are buildings, my work takes place on-site rather than in the studio. I prefer not to get too close to the subject; instead, I observe it from various angles, understanding its relationship with its surroundings. In urban areas, this means wandering through streets and alleys, experiencing how people living or working nearby interact with the building. In rural or natural settings, it involves exploring the landscape, and imagining how the surrounding wildlife might perceive the structure.
Igualada Cemetery, 2018
The images I capture reflect this observational journey, rather than being meticulously staged like a studio shoot. I find this slightly rough-around-the-edges approach more appealing. It’s akin to preferring a rustic ceramic mug over a precisely carved crystal glass.
Documenting a single building over an extensive period Long Museum West Bund, 2018
Many artists live by their routines, do you have your own rituals inside and outside of the studio? What does that look like for you?
For me, the studio is primarily a place to process the images I’ve captured, a phase of work that might not be as exciting as the photography itself. However, I place great importance on maintaining a tidy studio environment. A clean and organised space helps me concentrate and think deeply. Therefore, before I begin any work in the studio, I make sure to tidy up and ensure that every tool and item is in its proper place.
Studio views
Who are your biggest influences?
One of the artists who has influenced me the most is Hiroshi Sugimoto. Although he is widely known for his photography, his work serves as a medium for philosophical exploration and abstract expression.
Sugimoto has a deep interest in architecture and the concepts of time and space. He harnesses the unique qualities of photography to create a powerful tension between manipulated time and space and their real counterparts, prompting us to rethink our constructed notions of these concepts. In his sixties, he established his architectural firm and completed a project in Japan called the Enoura Observatory, which physically embodied his ideas about time and space.
Tracing the origins of building materials San Antonio Quarry, 2023
His journey has been incredibly inspiring to me, confirming that the combination of architecture and photography is a viable and rewarding path.
What’s the best piece of advice you’ve been given?
The best piece of advice I received was from my graduate mentor at the Bartlett School of Architecture, Jonathan Hill, who sadly passed away.
Jonathan was an exceptionally open-minded and supportive teacher. He made me realise that an architect's tools don't have to be limited to drawings and models; photography and writing are equally powerful mediums. Before meeting him, I believed that an architect's primary role was to design and construct buildings to enhance the built environment, a view that seemed especially relevant given the rapid construction boom in China in recent decades. However, after moving to London, I realised that many architects contribute to the profession in diverse ways without necessarily designing actual buildings, influencing how architecture is understood and practised.
Discovering the social context and history of the building Gallaratese Social Housing, 2019
Jonathan always encouraged me to make the most of my skills in photography and to use my multicultural background to explore the relationships between architecture, society, culture, and politics from new angles. His guidance and support set me on a completely different path from my peers, a path I have followed ever since.
What is the best advice you would give to other artists?
The best advice I can offer to other artists is to discover your unique style and stay true to it, allowing time to become a part of your work.
Persistence is both the simplest and the most challenging aspect for an artist. Drawing from my experience in the architectural industry, which shares many characteristics with the arts, an architect typically undergoes five years of undergraduate study and two years of master's study before starting work in a design firm. In the initial years, work often involves fragmented or phase-based tasks. It usually takes until around the age of fourty to become a lead designer. Many talented individuals I know did not become architects due to various reasons.
You might not be the most gifted, but often, those who persist until the end are the ones who succeed.
Portrait of Innovate Grant Honorable Mention Tianzhou Yang
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