Yan Jiacheng’s photography is an exploration of the overlooked moments in urban life, where rapid urbanization meets the quiet rhythms of daily existence. The work captures the subtle tensions within contemporary Chinese society, often revealing the vulnerability of individuals in their environments. With a unique blend of documentary observation and conceptual composition, the images invite viewers to reflect on the quiet transformations taking place in the periphery, highlighting the beauty and meaning found in the mundane. Through the lens, Jiacheng captures not just the changes in the urban landscape but the emotional depth within these spaces, offering a reminder that the most profound stories are often those unfolding in the background, unnoticed and unspoken.
Night in the Suburbs - Digital, 2023
Q: Your work captures everyday life in a way that feels both familiar and surreal. How do you choose which moments to document?
A: I prefer to create within my living radius—places that are both familiar and strange to me. They’re familiar because I frequently move through these spaces, yet strange because there are still so many scenes I haven’t noticed before. My work comes from those “wow” moments when the familiar suddenly becomes unfamiliar. These moments are beautiful because I feel like I’ve penetrated through these objects, seeing details others might miss. These observations become the themes of my work.
Q: In "Nights in the Suburbs," you focus on a community that exists in a kind of urban limbo. What drew you to this setting?
A: This is where I live. I’ve been here for several years and have witnessed almost all its transformations. These changes are fascinating, as are the people living through them. In this folded suburban environment, there are countless interesting scenes—people before the changes, after the changes, and those caught in between. I’ve been photographing here for years and still find new ideas emerging.
Q: You describe the riverside as a stage, where people unconsciously become actors under the glow of streetlights. Do you see your photography as a form of theater?
A: Yes, I’m influenced by dramatic films, which probably affects my work. Purely everyday scenes can be too harmonious, so I look for unusual moments. In these scenes, people appear slightly strange—what I call “vulnerable moments.” The subjects are caught by gazes, noticed, and all their details are magnified and placed within a framework of contemplation, making them appear vulnerable.
Q: Your work combines documentary observation with conceptual composition. How do you balance these two approaches?
A: I prefer to maintain only the essential photographic subjects, and sometimes this approach can seem quite stark, but it’s the form I prefer. While people often debate whether form or content is more important, for me, form ensures that content can be properly seen. Without proper form, even the best content might be overlooked.
Night in the Suburbs - Digital, 2023
Q: Many of your images highlight people in solitude, even in public spaces. Do you think loneliness is a theme in your work?
A: Yes, your observation is very perceptive and enlightening. This is the first time someone has mentioned this, and I’ve just realized it myself. Being a solitary person who enjoys being alone and observing, I naturally gravitate toward documenting solitary figures. Lonely people have a special characteristic—they exist within their environment while appearing to transcend it. I enjoy being that solitary person in a crowd; I like that feeling.
Q: China’s urban landscape is evolving rapidly, but your series captures moments of stillness within that change. How do you view the relationship between time and place in your photography?
A: Sometimes I feel the era is developing rapidly, other times slowly. Buildings might spring up overnight, AI might suddenly dominate the world, but people’s living conditions and mindsets change relatively slowly or remain static. That’s why we still have debates between conservatives and progressives. How people perform and change within these constantly shifting environments has become my focus.
Q: You’ve received international recognition, yet your subjects are often hyperlocal. How does the global art world’s perspective differ from the reality you document?
A: I’m not particularly interested in life elsewhere, so I rarely photograph or create while traveling. My work focuses on my immediate living area, including my daily radius and growth path. Observing my surroundings doesn’t mean turning them into private records. I’ve found that people living in different places are actually quite similar—they’re moved by similar things. This ensures my work can resonate with both local audiences and people from other places.
Q: What’s next for you? Are there new projects or themes you’re eager to explore?
A: I have many projects in mind, such as focusing on modern Chinese women’s lives and reflecting on global labor relations through photography. Currently, my only constraint is time—I need to better balance my work and family life to dedicate more time to creation.