Interview with Pixy LIAO: “We consider ourselves performers in front of the camera”

Pixy Liao, a multidisciplinary artist currently residing in Brooklyn, NY, was born and raised in Shanghai, China. Her artistic practice, covering photography, installation, and performance, questions the traditional gender roles in heterosexual couples, humorously revealing the multitude of ways to be together. She is known for her ongoing photo project, ‘Experimental Relationship’, where she poses with her boyfriend Moro.
Liao has participated in exhibitions internationally, including the Fotografiska, Rencontres d’Arles in Arles, Asia Society, the National Gallery of Australia, etc.
She is a recipient of the NYFA Fellowship in photography, Santo Foundation Individual Artist Awards, Madame Figaro Women Photographers Award, En Foco’s New Works Fellowship, etc. She has done artist residencies at Light Work, Lower Manhattan Cultural Council, Center for Photography at Woodstock, University of Arts London, School of Visual Arts, Pioneer Works, and Camera Club of New York.
Liao holds an MFA in photography from the University of Memphis.

You were born and raised in Shanghai, and currently, you live in New York City. What was the context in which you left China? What expectations did you leave with? Did your family support you?

I was a graphic designer and was tired of my job. I wanted to change my career so I decided to go to the US to study photography. My parents have always been open minded and supported me.

Looking back, how do you evaluate this decision?

My decision was simply to change a job so when I create work my clients can no longer change my creation. I had no idea what type of photographer I would be, maybe a commercial photographer who can make money and be more free than a graphic designer. That was my hope at that time.

When you felt that you were meant to be an artist, you decided to study photography in an academic environment, at the University of Memphis. To what extent did the academic experience help you in your artistic evolution and the development of an artistic identity?

While studying in Memphis, I was trying out many different types of photography, like landscape, portrait, self portrait, staged photos, etc. While trying all that, I also met my partner Moro. Our relationship and also the feedback from my teachers and classmates led me into photographing us together. And as soon as I did that, I suddenly felt I had found what I wanted to photograph. It became the thing that I want to do most.

Exhibition view “The Woman Who Clicks the Shutter” | Solo Show Pixy Liao, 2/3 Gallery, Bucharest, 2023. Courtesy of the Gallery.

The contemporary artist has an unlimited number of media to choose from. You chose photography, sculpture, and video as mediums of expression. Why?

I think medium does not matter. It all depends on the ideas of the artists and also the ability of the artists. My study was in photography and it was the perfect medium for describing relationships. For other projects, when photography does not work, I had to study how to use other mediums like sculptures or video making etc. I wished I had more art training in other medium so I would be more free to create work.

Some voices consider photography a handy medium of expression. How do you see things?

That is true. I love photography because it is so efficient. In my work, I would say 50% is coming up with the idea, 30% is photoshoot, and 20% is afterwards editing. Once you have a concrete idea, photography can realize that in such a short time it is really efficient. But the main work was actually done before photography.

Your art, especially the photographic projects developed so far, such as Experimental Relationship and For Your Eyes Only, explore issues related to identity and genre and question the conventions and stereotypes around womanhood, and human relationships focused on couples. When did this topic become of interest to you and what led you to explore it further?

It was when I started dating Moro and began Experimental Relationship. I found myself in another country that was far away from my family and peers’ influence. With Moro, I realized that I could be a different type of woman which I never thought I would be before. There were so many possibilities and not much limitation. I was growing into my own liking .

You turned your relationship with Moro into an art project. For most of your projects, you work with your boyfriend Moro, who is also your muse. You are both standing in front of the camera. You explore your bodies, your relationship, and your intimacy. You are also the ones photographing yourselves. How did you start to photograph the two of you together and to what extent do these images reflect your real life as a couple?

Our relationship is the base that I could make this project with Moro. He has always been so supportive and collaborative. The photos do not show us in our daily life. It is more about my thoughts or desires in a relationship. We consider ourselves performers in front of the camera.

How do you and your boyfriend feel when you exchange your/the roles of sex and roles of power? Is it easy? Do you enjoy taking control? Do you enjoy the power? What will be the advantages of a powerful woman?

It came really naturally between us. In the beginning it was a shock to me. But somehow I enjoyed the new power I had in this new relationship and really had fun with it which shows through the photographs. Being a powerful woman would give you permission and confidence to do greater things that you never thought possible.

As I mentioned, your photo series shows a range of often intimate scenes, such as you cradling your naked lover, to more provocative images where you are subtly biting and choking Moro. Referring to the cultural background in which you grew up, using an autobiographical dimension is a brave, daring approach because it makes you vulnerable. You were brought up in China where women are taught from a younger age that they have to marry an older and more mature man, they are taught that a woman needs a protector and mentor. Instead, you started dating a younger man who was also Japanese, and according to the traditional conventions and stereotypes, the relationship had no future. What challenges did you face along the way? Does the public’s reaction influence the direction in which the project develops?

When I was younger in China, I always had doubts about why women always had to become secondary to men. But I had no idea what else I could be. I really hated being female because it was uncool. The time in the US meeting Moro offered me a space and time to freely experiment the alternative relationship. In the beginning I realized that our relationship was different because my class’ reaction to it. And when I was telling my male friend in China about my new boyfriend. He asked how I could find a boyfriend the way a man finds a girlfriend (younger and pretty). And that also helped to decide that is exactly what I am going to do. So yes, the public opinion always influences the development of the project. It is about me feeling unfit or trying to fit in society.

Exhibition view “The Woman Who Clicks the Shutter” | Solo Show Pixy Liao, 2/3 Gallery, Bucharest, 2023. Courtesy of the Gallery.

Tell us in general terms, please, how the whole process goes, from establishing the artistic concept to documentation to scenography, choosing the space where you will take the picture, choosing your clothes, etc.

The ideas come first. They are usually vague, like a pose or word. And then I just keep them in the back of my mind. When I have a chance to travel with Moro. I look for a location that looks like some place we would live in an alternative life. Feeling from the space, I seek through my idea banks to look for the right ones. Once the ideas are decided I think about clothing, prop. And the photoshoot is short, like an hour. We try 3-5 times each idea. Moro will improvise during the photoshoot.

When do you know you have finished a project? Tell us more about the whole experience until you are completely satisfied with the result.

Experimental relationship is an ongoing project that I hope we will keep shooting as long as we can. I am satisfied if I have a good idea before the photoshoot already.

I noticed that Moro is the one taking the shot, especially when he is in a vulnerable position. Why do you choose him to push the button, when you could just as well do it yourself? What does it mean? It is proof of feminine wisdom? For a harmonious and balanced relationship, the man must believe he is in control, even if the woman orchestrated everything.

Many different reasons. Sometimes it is sharing of power. Sometimes it is an illusion of power. Or simply I did not have the hand power to take the photos. Or it could be all these reasons at the same time.

You have exhibited all around the world. You responded to the invitation to exhibit in Romania as well. A selection of photos from the ongoing project Experimental Relationship is still on view at 2/3 Gallery from Bucharest until the 23rd of April. You were present together with Moro at the opening of the exhibition and, at the same time, you also held a guided tour of the exhibition. How would you describe this experience? The reaction of the Romanian public was different compared to the audience from the West and China?

My opening was on March 8th. That was a very good experience when many young women came in with flowers. Some even gave me their flowers. There were many young people in the audience, friendly, curious, lovely. They reminded me of our younger self. One thing that struck me most is that after I talked about censorship in China, two old women talked to me about their experiences in the past. Somehow they really understood what is going on in China and had a very wise perspective on that. That is something I never experienced with any audience from the west.

In 2019 you started working on a new project called Evil Women Cult through which you want to present the female leaders from Asian history, to be recognized as ambitious and strong women. It is perhaps the first project in which Moro does not participate. What inspired the project?

It started with “Temple for Her”, a temple dedicated to my childhood idol Wu Zetian. I made it because of a regret I had when I was young. When I was in elementary school, I was fascinated by a popular TV show about the only female Chinese Empress Wu Zetian. She was a very powerful ruler but had a bad reputation for being too cruel. When one of my girlfriends claimed Wu Zetian to be her idol, I was like “No! How could you claim her as an idol? She is evil.” Because her name is always connected with evil, I couldn’t admit my admiration for her back then.
That is why I want to make a cult for all these evil women rulers all over the world. So young girls would know who they were and claim them proudly as their idols or goddesses. I am planning to make more works based on my research on female rulers in different parts of the world.

It seems you two and the art you do are just enough for you. How was your art received by your family, and his family?

My parents in the beginning were worried about me. They did not want me to show my work with other family or their friends (to protect me from criticism). But as I kept doing it for years, they started to get to know me as an adult and really accepted me. My dad now has even become a fan. And he would even ask for certain images to show his friends. However, we still did not show much of my work to Moro’s family. Even though they are probably going to be ok with it. I just don’t want to.

What do Liao and Moro do when they are not posing? How do you spend your free time?

Like any couple, sharing housework. We stay home together a lot. And we love to go vintage clothing shopping together.

Is there something you would like to try out, but the right context has not come along yet?

I would like to make more objects, but right now I do not really have the skill nor the space.

Cover photo: Nathalie Guio

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