JUNE 2020: Featured Artist
Award-Winning Photographer:
Cheng Gong
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Cheng Gong was born in Hunan, China. He received a bachelor’s degree in environmental art of design from Donghua University in Shanghai, a master’s degree in project management from Northeastern University in Boston and an M.F.A. in photography, video and related media from the School of Visual Arts in New York. Cheng’s art has been chosen for solo and group exhibitions throughout the U.S. and in China. He has won several awards and was recently chosen as a Nominee in the 6th edition of Fine Art Photography Awards, 2020. His current solo exhibition "Ten Precepts of Buddhism" can be viewed virtually from Barrett Art Center. He currently lives and works in New York City. |
Myrna Beth Haskell, managing editor, first met Cheng Gong at an "Artist Talk" event for Barrett Art Center's national juried exhibition "Photoworks Beyond 20/20" in Poughkeepsie, NY. She later asked him to discuss the inspiration behind his project "The Ten Precepts of Buddhism" and his "One Child" series.
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What was the inspiration behind "Ten Precepts of Buddhism?"
First of all, I found that I have not changed my habits and concepts of my Chinese culture, even though I have been in the United States for more than five years. For example, Chinese cuisine is still my first choice, and I only buy groceries from Chinese supermarkets. I’ve also learned that there are some misunderstandings about Chinese people and culture in the Western world, such as a perception that Chinese food is disgusting and cheap. I have the opposite viewpoint. The conflicts between Chinese and Western culture greatly influence my work. Since my family believes in Buddhism, and I am influenced by my mother and my grandmother, I also believe in Buddhism to a certain extent. Every time I go back to China, my mom takes me to a temple for several days which is located on a mountain near my hometown. I really enjoy the peaceful and disciplined life there. After hearing the stories behind the precepts of Buddhism, I decided to reflect on them through my work. |
Artist Talk for "Photoworks Beyond 20/20" at Barrett Art Center
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No Stealing
© Cheng Gong |
No Use of High and Broad Bed
© Cheng Gong |
No Improper Sexual Behavior
© Cheng Gong |
No Food After Noon
© Cheng Gong |
Was it difficult to set up the installations for this ambitious project?
I spent almost one year on this project. The most difficult part was setting up at the various locations. I completed a proposal before the project. Then, I drew a sketch for each photo based on the location or space I found, so I could create a list of what I needed. I spent several days buying the props before the photo shoots. I also bought the food one or two days before shooting to make sure it was fresh. I had to reserve the heads, eyeballs and skins of the animals from a slaughterhouse one or two weeks in advance. Most of the photographs are shot overnight because there are fewer people out at night, and I was able to control the lighting easier. The shooting time took about eight to ten hours with one or two assistants. The most difficult shoot was for “No Food After Noon.” After calling six times, I did not get permission until I went to the restaurant, and the manager only gave me two hours to shoot before they opened. So I had to set up the whole table of props in my studio first. I took photos of different parts of the table, including different angles and all the details. On the shooting day, I brought all the props including the tables to the restaurant, and I asked four friends to set up the table according to the photos I took. Set-up took one hour, and I spent another hour shooting. Fortunately, everything turned out exactly the same as I had imagined.
I spent almost one year on this project. The most difficult part was setting up at the various locations. I completed a proposal before the project. Then, I drew a sketch for each photo based on the location or space I found, so I could create a list of what I needed. I spent several days buying the props before the photo shoots. I also bought the food one or two days before shooting to make sure it was fresh. I had to reserve the heads, eyeballs and skins of the animals from a slaughterhouse one or two weeks in advance. Most of the photographs are shot overnight because there are fewer people out at night, and I was able to control the lighting easier. The shooting time took about eight to ten hours with one or two assistants. The most difficult shoot was for “No Food After Noon.” After calling six times, I did not get permission until I went to the restaurant, and the manager only gave me two hours to shoot before they opened. So I had to set up the whole table of props in my studio first. I took photos of different parts of the table, including different angles and all the details. On the shooting day, I brought all the props including the tables to the restaurant, and I asked four friends to set up the table according to the photos I took. Set-up took one hour, and I spent another hour shooting. Fortunately, everything turned out exactly the same as I had imagined.
No Receiving of Gold and Silver
© Cheng Gong |
No Watching of Dancing, Singing or Shows
© Cheng Gong |
As you worked through this project, did logistics or the process itself change your intent or message at all?
Yes. It was much more difficult than I thought it would be. Some of my ideal places could not be executed, and I was forced to change the location. For “No Watching of Dancing, Singing or Shows,” I had planned to shoot at a strip club. I visited several clubs, but I was either rejected or asked to pay a huge fee. Finally, my friend, who is a musician in Boston, allowed me to use his basement and musical instruments for free. I had to stick to a budget for the props, and even though I purchased them in second-hand shops or flea markets, they were expensive. The price of raw food in the U.S. is much more expensive than in China, and there isn’t as much of a variety, thus limiting the scale of the whole series. I wish I could have used more food and props in the pictures for more detail and content.
I also wasn’t sure if Western people could understand the underlying meanings in the photographs. For Chinese people, there are some symbols or 'hidden' meanings that Western people might not understand, such as the fact that duck and chicken in Chinese mean sexual workers. I have to explain some of this to Western audiences.
Why did you use raw food?
There are a number of reasons. First of all, some Western people may have a bias about Chinese food, since some of the Chinese food is made from organs, feet, and even heads of animals. They might think it is cheap or disgusting. Kidneys, livers and hearts are affordable in China – this was food for the poor who could not afford meat. I seldom see Western people in the Chinese supermarket. I think raw food is unfamiliar to them. People I know here don’t believe that I can buy crocodile feet from the Chinese supermarket. I feature the raw food so it looks beautiful and also demonstrates its importance to Chinese people. Food also offers another level of contradiction and conflict in my work. Meat is forbidden in Buddhism, and my photos are presenting opposite sides of the ten precepts. Some parts of the raw food represent people or symbols. For example, raw meat may represent lust.
Yes. It was much more difficult than I thought it would be. Some of my ideal places could not be executed, and I was forced to change the location. For “No Watching of Dancing, Singing or Shows,” I had planned to shoot at a strip club. I visited several clubs, but I was either rejected or asked to pay a huge fee. Finally, my friend, who is a musician in Boston, allowed me to use his basement and musical instruments for free. I had to stick to a budget for the props, and even though I purchased them in second-hand shops or flea markets, they were expensive. The price of raw food in the U.S. is much more expensive than in China, and there isn’t as much of a variety, thus limiting the scale of the whole series. I wish I could have used more food and props in the pictures for more detail and content.
I also wasn’t sure if Western people could understand the underlying meanings in the photographs. For Chinese people, there are some symbols or 'hidden' meanings that Western people might not understand, such as the fact that duck and chicken in Chinese mean sexual workers. I have to explain some of this to Western audiences.
Why did you use raw food?
There are a number of reasons. First of all, some Western people may have a bias about Chinese food, since some of the Chinese food is made from organs, feet, and even heads of animals. They might think it is cheap or disgusting. Kidneys, livers and hearts are affordable in China – this was food for the poor who could not afford meat. I seldom see Western people in the Chinese supermarket. I think raw food is unfamiliar to them. People I know here don’t believe that I can buy crocodile feet from the Chinese supermarket. I feature the raw food so it looks beautiful and also demonstrates its importance to Chinese people. Food also offers another level of contradiction and conflict in my work. Meat is forbidden in Buddhism, and my photos are presenting opposite sides of the ten precepts. Some parts of the raw food represent people or symbols. For example, raw meat may represent lust.
One Child - One Breakfast
© Cheng Gong |
One Child - One Studio
© Cheng Gong |
Let’s discuss your "One Child" series. How does your use of repetitive images, transparency and light emphasize the meaning behind the pieces?
I shot this series after I had been in the U.S. for two years. We have a very strict policy in China that one family can only have one child. We are under the 'protection' of our parents, and we do not have 'competition' in our daily life. Most people here have siblings. As an only child, you do not learn how to live with others or to communicate. When I came to the U.S., I did not have close friends or relatives here, so I felt lonely and isolated. This series is what my imagination sees as an ideal life – living with siblings and taking care of each other. We drink together, eat together, and play together. The transparency of me is the imagination, but the center is the real me. The real me is unhappy, lonely and helpless, and these feelings are exaggerated as I live abroad.
I shot this series after I had been in the U.S. for two years. We have a very strict policy in China that one family can only have one child. We are under the 'protection' of our parents, and we do not have 'competition' in our daily life. Most people here have siblings. As an only child, you do not learn how to live with others or to communicate. When I came to the U.S., I did not have close friends or relatives here, so I felt lonely and isolated. This series is what my imagination sees as an ideal life – living with siblings and taking care of each other. We drink together, eat together, and play together. The transparency of me is the imagination, but the center is the real me. The real me is unhappy, lonely and helpless, and these feelings are exaggerated as I live abroad.
EXHIBITIONS:
Virtual Solo show
Barrett Art Center
May 16- June 21
National Group Show
Allegany Arts Council
June 27-July 18
Cumberland, MD
Juried Art Show
Maria V. Howard Arts Center
Rocky Mount, NC
Postponed - TBD
Virtual Solo show
Barrett Art Center
May 16- June 21
National Group Show
Allegany Arts Council
June 27-July 18
Cumberland, MD
Juried Art Show
Maria V. Howard Arts Center
Rocky Mount, NC
Postponed - TBD
