李朝晖：“大体”关乎哲学，也关乎其它

来源：色影无忌 http://vision.xitek.com/interview/ 作者：迦沐梓 发布时间：2013-12-03

编者按：2013连州国际摄影年展中，李朝晖的《大体》吸引了很多人的关注。他拍的是人体的一部
分，一些刚刚离开鲜活人体的一部分，其中大部分是医疗手术中切下的器官，然后，在影像基底位置
放上了一根标尺。这些看似简单的影像作品，所要表达的内容又似乎十分复杂。李朝晖是鲜于阐释的，
对他而言，“大体”除了关乎哲学，也关乎其它。

色影无忌：此次连州国际摄影年展的主题是告别经验，《大体》似乎正与这个主题不谋而合，跟我们
惯常理解的摄影呈现方式也好、主题表达也好，是有区别的；它很客观，在客观中又有很主观的意识
在，那么我想知道，您是怎么理解这组作品的？

李朝晖： 既然你说“告别经验”，那就从这说起吧。其实“告别经验”是这次连州的主题，是它整个展的
主题，这个主题肯定要有几个方面，是谁，要告别什么，其实最终是要“建立什么”。对我个人来讲，
其实没有什么告别的东西，因为我本身就是一个没有经验的人，我从事摄影还不到十年的时间，特别
是说走上艺术摄影的话，可能时间更短，才几年时间，所以也没有什么经验束缚着我，没有什么可捍
卫的，我完全是没有束缚的，这样一说，可能我就进到这个“告别经验”的主题里面，即所谓的“走向
什么”。

人们看到这些既熟悉又陌生的影像时也会自然而然地产生对生命的思考

色影无忌：这组作品名为《大体》，但这些器官和局部，它们在人的身体里并不是占到一个很大的体
量，据说来自于医学术语。

李朝晖：对，《大体》的来源主要是医学术语，这组作品貌似是科学摄影，但是我们真正的科学摄影
不会这样做，但起码貌似科学摄影，所以说我想就按科学名词来取，学术术语叫“大体标本”，但如果
直译“大体标本”就束缚了观者的创造。大家都知道一个作品的完成要经过两方面的环节，一个是作者
的创造，一个是观者对作品的创造，观者对作品也是有创造力的，这是一个创作环节。那么我把标题
限死了，后面的创作环节就没有了。特别是这个作品可能产生的含义是很多的，你可以飘到天也可以
掉到地上，这个都是有可能的，可能后一个环节会五彩缤纷，这样就不能把这个非常好的东西限死，
于是我就把“标本”两个字去掉了（但是英文还是原来的），“标本”去掉后就可以由观者去遐想了。
我自己在拍摄过程中，以及拍摄完成后，包括跟别人的沟通中，也会产生很多的遐想；曾经我为了写
那个序言，找灵感，我想看看大家对它的理解是什么，我去问了很多人，跟他们沟通，每个人理解都
千差万别，包括我自己。我原先做这个的最基础的出发点是有关生命哲学的思考，就说我选择的是刚
刚离体的标本、离体的器官，他的主体还是存活的，这个人还是存活的，可是他的器官已经死了，这
个死亡是肉体的死亡，可是他精神还在，因为他的人体还是活着的，这个就涉及到肉体和意识的本质
及其关系的思考。本身看到这些器官，其实这些器官的名字大家都很熟悉，可是影像又很陌生，人们
看到这些既熟悉又陌生的影像时也会自然而然地产生对生命的思考。拍到一定程度后，我再来看这个
作品，我的想法跟刚开始的出发点又会有一些，不能说是不同，是更加丰富了，比方说我看到一个新
闻，一则是，一位1982年毕业的大学生披露，他大学同班同学在京工作30多人，现有8人患癌，而
毕业出国就业者20余人无一癌症，这是个非常接地气的、非常现实社会的一个东西，涉及环保啊、社
会的压力啊等等，可是我看到这个新闻的时候感觉它跟我的作品有关，包括广西的那个自己做手术、
切器官的，还有自己锯腿的...都会联想到《大体》这个作品，那就说明这个作品它是有普遍性的，而
且含义值得去思考，有很多引申的意义出来。

色影无忌：在表达上面，您刻意用黑白胶片的形式把本应“血淋淋”的感觉弱化，把那种过于噪杂的含
义弱化，让我们更加沉静下来。

李朝晖：就是这个出发点，我从来不拍黑白照片，因为现在有些拍黑白摄影的，不是所有啊，说得土
一点，叫有点艺术装逼。因为所有你的选择都应该是有目的的选择，我们选择的摄影媒介也是，你为
什么选择它，这个一定要搞清楚。
我从来不拍黑白的，只拍彩色的，但这组作品是特意用黑白的。第一，我为这组作品去专门买了
8Ⅹ10的大画幅，这个是刻意买的，因为我要拍的东西很小，我希望能更细致的来呈现这个小东西；
第二个刻意呢就是黑白，选择黑白的原因呢，就是我不想让那个所谓的视觉刺激，把它引到别的地方
去，因为我的出发点是有关生命哲学的，生命和死亡，生命和疾病，等等，这些东西，你如果说他仅
仅看到表面上的这个事情，就会消弱他背后的东西，会转移他的注意力；第三个，就是用平顺光，这
也是为了减少视觉刺激，其实我知道，用更好的光线更漂亮的光线，会让我的作品更美一点、更漂亮
一点、质感会体现的更好一点，可是我放弃了，我不要做这种事，我要用平顺光让它从视觉上变得更
平实一点，我不希望观者在视觉上有过多的刺激，之前试拍摄时我还打底光，后来把底光也去了，因
为打底光的作品太漂亮了，就像做商业摄影做广告的那个，看起来很美，这不是我的目的，我不要让
观者仅仅是认为我拍出来的东西是美的，而是让观者想到表面以下的东西，引导他们去思考，所以最
后这个作品就成为现在这个样子了。

一个作品的完成要经过两方面的环节，一个是作者的创造，一个是观者对作品的创造

色影无忌：现在摄影师做展览时，不是光做摄影图像本身，还会把文字阐述加里面，我们观看摄影作
品的时候，可能文字和作品是统一为一体的，文字已经成为摄影叙事的一部分，但你这组作品，你也
是刻意削弱了这一部分的功能性。

李朝晖：对，我并不排斥文字阐述，因为当代艺术特别是当代摄影，文字是作品的有机部分，包括标
题也是。但是我认为，最好的影像，文字阐述是不需要的。我不认为我的作品是最好最好的，我还没
达到，为什么呢，来了展览现场之后我发现，这些作品的展示其实是有缺陷的，鲍昆老师也给我指出
了这个问题，我自己看这些作品我是很熟悉的，一看就知道是什么，一开始也认为大家都熟悉，觉得
大家中学都学过生物、生理卫生，对这些器官都比较熟悉，并没想到其实大多数人都不知道，这是我
这次呈现上的失误。我确是有意为之，但我发现有意为之不一定能达到我最后想要的结果，下次我在
呈现的时候我可能就要妥协一点，会标注基本信息，比方说这个器官是什么。其实我最开始不想写文
字阐述，就只有一个标题，我的出发点已经说出来了，生命哲学。

色影无忌：刚才说到再创作，就是观者都可以把自我感触与思想注入其中。

李朝晖：对，就是一个二次创作的过程，其实一个作品都是有两个环节组成的，对于一个作品来说，
他的后一个环节可能更加重要，所以不要给他们束缚，要给他们发挥，要让观者来发挥，我是这个
想法。

这个尺子有着无以复加的重要性

色影无忌：从内容选择上，您当初为什么将标尺和这些大体结合在一起？

李朝晖：我始终有一个观点，先说对自己的定位吧，我自己的定位是受过科学训练的艺术家，说白一
点，就是科学家变为艺术家，但我自己的认识是科学就是艺术，作为一个过去的科学家来说，科学就
是一项艺术，它有严谨的特点，也是很有艺术性的。
我是受过科学训练的，创作中我会自然的把我的科学素养带到艺术中去，特别是像《大体》这样的作
品，它们原始的素材都是跟科学相关的，我加上这个标尺，起初它是科学的标尺，那么等我做完这个
作品的时候，就发现它不仅仅是个科学的标尺，还代表了我们所有的人看到这些影像的评判，也可以
引申到上帝之尺。即使关于哲学，那么这个人是什么，精神是什么，我们现在只能提出问题，不能回
答问题，回答不了问题，或者问题的答案是相互紊乱的、各不相同的。我现在说上帝，但是我并不是
一个教徒，我也不认为上帝就一定存在，这个代名词就是超脱我们人类所能触及的之上的东西，对它
的一个评判。这个尺子就是我要丈量这个东西，不是说我们最顶层的那个上帝，他要丈量这个东西；
首先我作为作者，我要丈量，我要靠我这把尺子来表现我的丈量，对时间或者影像表现内容的丈量、
包括对我自己生命认识的丈量，这个尺子有着无以复加的重要性，更何况这个尺子让我的作品显得更
加的稳重，更像一个科学。

色影无忌：因为“尺子”这个代名词本身就和度量、科学有关系。刚才您说到最好的影像它可能是比较
精简而凝练的，那么我想请问，您理解的好的影像的评判标准是什么？

李朝晖：就我自己来讲，我不能涵盖大众，因为每个人的创作方向做到极致都是好的。对我个人来讲，
其实我追求的有几点，简单、干净、要有深度，我认为你在这几个方面做到了极致，你的作品就越好。
简单，意指不需要冗杂的内容就可以向观者准确表达创作意图，有所思所感；很多东西很复杂，让人
摸不到头脑，那是不行的，那不是好作品。

简单是有两个概念，它不是说画面的简单，而是要观者很快的明白，产生共鸣

色影无忌：现在很多艺术也在强调“少”，像建筑学里密斯•凡•德罗也在讲“少即是多”，实际上也是异
曲同工。

李朝晖：简单是有两个概念，它不是说画面的简单，而是要观者很快的明白，产生共鸣，这是我对自
己作品的要求。一个科学家是严谨的，他的作品也是干净的，不应该有不想要的东西；最好的作品，
是越深，让人想的越多，你承载的思想越牛逼，你的作品就越好。我最喜欢的摄影师是杉本博司，他
就达到了我对好作品评判的极致，任何一个方向做到极致都是好作品，这次连州展出的敖国兴的《欢
乐颂》也是如此。

色影无忌：他身上的哪些特质让你钦佩？

李朝晖：他对待影像的态度，制作工艺的严谨要求是极其认真的，对每个细节都追求完美，包括装裱，
我认为这样做到极致就是好的。

色影无忌：很多优秀的摄影师都不是科班出身，您是怎样确定从事摄影，并一步步走来的？

李朝晖：首先是简单的爱好，从小就喜欢画画，上大学参加过摄影社团，个人爱好，到了30来岁的时
候玩户外，做驴友，包括车驴，就自然而然的拿起相机，刚开始是很简单的拍拍，拍着拍着发现摄影
师是很有意思的，可以做很多事。完全是个人爱好发展的，我现在的生活不能说是百分之百，但百分
之九十是被摄影占据的，包括时间和精神的占据，我在摄影上面有使不完的精力，很有意思，只要谈
到摄影我是很兴奋的。

不要受到拘束，不要拘泥于是摄影还是别的，什么能最好表达就是最好的

色影无忌：如今各种艺术媒介的联系加强了，对此您是怎么看的。

李朝晖：现在我也在逐渐学习，我认为不能太受拘束，你受了拘束，就会行动不便，你想表达的东西
就不能完整、完美表达；所以我认为不要受到拘束，不要拘泥于是摄影还是别的，什么能最好表达就
是最好的。比如说最近看苏文的展“北京银矿”，都是摄影以外的东西，我觉得是很牛逼的，不会让人
觉得牵强附会，他们不会被摄影束缚。你觉得什么好就拍什么，你想通过什么表达什么，这些方式对
你的表达有没有意义，如果摄影不能表达，就通过其他什么来呈现。现在对我而言摄影还能表达，所
以我还在做这个，也许有一天它不能表达了，我也会告别它。

色影无忌：这组作品从思想萌芽到最终呈现大概是多久的时间？

李朝晖：从有固定的思路到呈现大概两年时间，其实思考积累了很久，因为我是学生物学的，最近十
几年又在医院工作。实际拍的时间并不是很长，但要先走通技术路线，想要呈现什么我需要试拍，这
还是很复杂的，包括光线的选择。我第一个拍了两张，黑白的和彩色的，认真思考后选择了黑白，刚
开始反光很严重，器官上有很多水，高光点很多，我想了很多办法，包括买了白布来围影棚，做了很
多尝试，最后成了这样。我认为最难的不是技术，而是你要拿到要拍的这个东西，我用了半年才找到
这个渠道，让我去拍。
其实这个项目还没结束，我的预期是拍到30幅左右，现在才拍到20多。一些重要器官是必须拍的，
现在还没有标本，还要等，也许标本要五年才能拿到。像心脏和男性生殖器，是一定要拍的，因为它
们很有代表性、意义很多。这些重要标本是可遇不可求的，它的创作时间有多久，我也不知道。
这次在连州是首发，半年以前就拍到这个阶段，拿给段煜婷老师看，她问能不能放到连州展，我很兴
奋。我真的特别感谢连州，感谢段老师、鲍老师，从我第一次到连州参加他们的专家见面会到现在，
对我的帮助十分巨大。

色影无忌：现在北京雾霾、堵车很严重，或多或少我们会将某些器官与这些变化联系起来，您会不会
将《大体》带到北京去展览，我想触动会很大。

李朝晖：你说的对，其实这组作品的最后呈现形式还没有完成，最后要怎么呈现，我现在的思路是至
少要有个1个版，做成原大小，15公分就是15公分，1比1，严谨的复制原始影像；也会做到大版，
会看到更多细节，你给了我很好的提示，在特殊场景特殊环境下展出。

色影无忌：将民众关注的点集中放大化，会更深刻。

李朝晖：中国发展很快，带来一些不可避免的，我认为是可以提出来思考的问题。很多癌症村污染很
严重，癌症发病率很高，若这个作品放到癌症村或者雾霾中，放到很大的尺寸，它是可以让人想很多
东西的，可以往外延伸。

色影无忌：这个作品完成后会往哪个方向创作。

李朝辉：大体2，具体细节不能透露给你，但是拍什么怎么拍，可以透露一些的是用彩色拍，最后什么
样子已经心里有数；大体3.我只是知道要拍什么，最后什么样子心里没数，但是会是完整的有计划的
一个系列。

色影无忌：好的，谢谢您！

李朝晖
湖北宜昌人，1989年毕业于北京大学生物学系，现从事医疗工作

Li Zhaohui: “Specimen” concerning Both Philosophy and Others

Release Date: 2013-12-03 Source: XITEC Features Author: Jia Muzi Editor in Charge: Jia Muzi

Editor’s Note: In 2003 Lianzhou International Photograph Annual Exhibition, Li Zhaohui’s Specimen attracted much attention. He takes photos of a part of the human body, most of which are organs newly separated from a living body and cut down in a medical operation. Then, a ruler is put under the image basis. The photos look simple, but what they express seem extremely complicated. Li Zhaohui does not explain much, but to him, except philosophy, Specimen is something related to other aspects.

XITEC: In this Lianzhou International Photograph Annual Exhibition, the topic is about bidding farewell to experiences. It seems that Specimen happens to coincide with the topic, but it differs from the photography presentation and the theme express in the traditional sense; it is very objective, but subjective awareness can also be found exactly in it. Therefore, I wonder how you understand this series of works.

Li Zhaohui: Right now you mentioned “bidding farewell to experiences”, let us start our conversation here. Actually, “bidding farewell to experiences” is the topic of Lianzhou Photography Festival. Of course, the topic will include several aspects: who, what, and ultimately “to establish what”. To me, I actually do not have anything to bid farewell to. This is because I myself am an inexperienced person. And I have engaged in photographing for less than ten years. The time I spend on artistic photography is probably even shorter, only several years or so. Therefore, somewhat, I have noting experiences that could restrict me, or I have no experiences to be safeguarded and I am totally free. Therefore, I may involve myself into the topic “bidding farewell to experiences”, which refers to the so-called “moving toward what”.

When people see these familiar yet strange images, naturally they may ponder over life.

XITEC: This group of works is named Specimen, but such organs or parts do not take a bigger proportion in human body. It is said the name comes from a medical term.

Li Zhaohui: Yes. Specimen mainly comes from a medical term. It seems that this group of works is about scientific photography. But actually, scientific photography in its normal sense will not do so. But at least, it seems like scientific photography. Therefore, I name it after a scientific term “Specimen of Organs”. But if this is translated literally, it will limit the viewers’ creation. As is known to us all, to finish a piece of works, two links are needed: one is the author’s creation; the other is the creation of the viewers. The viewers can also create the works and this is a link in creation. Therefore, if I choose a fixed name, there will be no creative links later. Particularly, the works can generate many meanings: you can soar into the sky or you can fall into the ground and everything is possible. Maybe the latter link will be diversified and colorful. Accordingly, you cannot fix the name to a narrow scope. I therefore delete the words “specimen” (but the English name remains the same). If “specimen” is deleted, the viewers will imagine freely.
During the process of shooting, after the shooting and during the communication with others, I will generate many imaginations. Once to write the foreword and look for inspiration, I asked many persons and I tried to communicate with them to find out how others understand the works. But the understanding varies from person to person and even my understanding also changes from time to time. The original starting point of mine is to ponder over the philosophy of life. In other words, I choose those the specimen, or the organ that is taken immediately away from human body; the subject or the owner of the specimen, or the organ, is still alive; but his organ is dead. This death is a physical death, but his soul is alive still because he has a living body. Therefore, this will be relevant to the deliberations on the essence of human body and consciousness and their relation. When we look at these organs, we actually know their names pretty well; but their images are so strange to us. When seeing these familiar yet strange images, people will think about life quite naturally. When I take a second look at these photos later, my thinking is somewhat, compared with the original starting point, enriched rather different. For example, I heard news: in accordance with the exposure of an undergraduate who graduated in 1982, among over 30 classmates who work in Beijing, there are 8 cancer patients; among over 20 classmates who work abroad, none of them are cancer patients. And this is a very realistic event which is related to environmental protection, social pressure and so on. But when I heard this piece of news, I felt it is related to my works. Such news include the person in Guangxi who performed an operation, cut organs by himself and the person who cut his own legs … All of these will remind me of my works Specimen. Therefore, this works expresses something universal, and its meanings is worthy of our deliberation. And there are many extended meanings.

XITEK: In expression, you purposely weaken those “bloody” senses by means of black and white films, and weaken those rather noisy implications to let us calm down.

Li Zhaohui: This is the very staring point of mine. I never take black and white photos. This is because some photographers, not all of them of course, who take black and white photos, are damn to act artistically. All your choices must be purposeful choices and this is true for the medium of photography. You must clarify why you choose it. I never take black and white photos before and I only take colored photos. But for this group of works, I choose black and white films on purpose. Firstly, I bought a 8Ⅹ10 large format specially because the objects I will shoot are tiny, and I hope to present the tiny things in a more delicate way; Secondly, I choose black and white films. This is because I do not want to divert people to somewhere else via the visual stimulus. My starting point is about the philosophy of life, life and death, life and diseases etc. To such kinds of things, if only the superficial things are observed, the things behind them will be weaken and the viewers’ attention will be diverted. Thirdly, I choose smooth light. This is to decrease the visual stimulus. Actually, I know that if I adopt better and more beautiful light, my works will look more beautiful and the texture will be reflected in a better way. But I give up, and I do not want to do so. I want to make it look more plainly via smooth light. I do not hope there are excessive visual stimuli to the viewers. At the beginning, when I took such photos, I adopted the bottom light but later I did not use the bottom light any longer. The works obtained with a bottom light, like those commercial advertisements, looks rather beautiful, but this is not my purpose. I do not merely want audiences to know that the items I shoot are beautiful; moreover, I want to guide them to be a thinker. Therefore, the works become what they are now.
A piece of works can be finished via two links: one is the author’s creation and the other is the viewers’ creation.

XITEK: Now, when photographers arrange an exhibition, they not only display the photographic images, but they may add written descriptions into it. When we look at the photographic images, maybe the works and the written description are integrated into one; and the written description has become a part of the photographic narration. But in your works, you purposely weaken the functions of this part.

Li Zhaohui: Yes. I do not exclude words, because in contemporary art, especially contemporary photography, text is the organic part of the works, so is the title. But I think, to best images, words are not needed. But I don't think my works is the best. Why? After I came to the scene of the exhibition, I found out that these works being displayed have shortcomings. Teacher Baokun also pointed out the problem for me. I look at these works and I am very familiar with them and moreover, I know what it is at the first sight. At the very beginning, I think we all know what it is. I think everyone learned biological or physical health in middle school and we are very familiar with these organs. But actually, I don't know that most of the people do not know what it is. This is the error in my presentation. I am intentionally to do so, but I found out that it is not necessarily for the intention to reach an expected result. Next time when I display such photos, I may make some compromise and label basic information such as the name of the organ. In fact, at the very beginning, I do not want to write literal introduction and I only have one title, where my starting point is expressed: the philosophy of life.

XITEK: Right now you mentioned creation. Namely, viewers can add their personal feelings and thoughts into the creation.

Li Zhaohui: Yes, this is a process of recreation. Actually, each works is consisting of two links. To one piece of works, the latter link is more important. Therefore, do not limit them and give full play to their imagination. Give full play to the viewers’ imagination. This is what I think.
The ruler is of extreme importance.

XITEK: In choosing the contents, why do you combine these rules with these specimens at the beginning?

Li Zhaohui: I always hold one idea. And I will talk about my positioning first: an artist with scientific trainings. Frankly speaking, a scientist turns out to be an artist. But in my opinion, science is a kind of art. Previously, I was a scientist. To me, science is a kind of art because science is both cautious and artistic.
I received scientific training. In my creation, my arts will be affected by my scientific training, especially such works as Specimen. Their raw materials are all related with science. I add this ruler originally because this is a ruler of science. After I finished the works, I found that it is not only a ruler of science, but also that it stands for all the comments made by all of us. And it can also be deemed as the ruler of God. Even in terms of philosophy, such as what is human being and what is spirit, we now can only propose questions, and we cannot answer the questions. Or the answers to the questions are diversified and different. We mentioned God right now, but I am not a believer and I do not believe in the definite existence of God. This pronoun is something beyond the touch of human beings, or a comment. This ruler means I want to measure this thing; not that the God at the top wants to measure this thing. First of all, as the author, I want to measure it and I will show my measure with my ruler, such as the measure of my own understanding on life. This ruler is of unprecedented importance. Let alone the ruler makes my works seem more prudent and scientific.

XITEK: The pronoun “ruler” itself is related with measure and science. Right now you mentioned that maybe the best images are clear and concise. Would you please explain your criteria of good photographic images?

Li Zhaohui: From my point of view, I cannot stand for the mass majority because every works is good if the author has done his best. Personally, I pursue simplicity, cleanness and profoundness. I think if you can do your best in such aspects, your works will be better. Simplicity refers to that you can express your senses and thoughts accurately without lengthy contents; many things too complex to be understood and they are not good works.
Simplicity can be defined in two ways. It does not mean that the picture is simple but that it aims to let viewers get a quick understanding and generate resonation.

XITEK: Now, many arts stress “less”. For example, in the field of architecture, Mies Van Der Rohe also emphasized that “less is more”, which express the same idea in different ways.

Li Zhaohui: Simplicity can be defined in two ways. It does not mean that the picture is simple but that it aims to let viewers get a quick understanding and generate resonation. This is how I create my works. A scientist should be cautious but his works should be clear and concise and there should be no unwanted things. The best works are those works with profound thoughts which will help people think more. The better the thoughts your works carry, the better your works will be. My favorite photographer is Hiroshi Sugimoto, who has done a best job in creation in accordance with my criteria. If the photographer does his best in whatever direction, his works will be best. This is true for the works Ode to Joy created by Ao Guoxing in Lianzhou Exhibition.

XITEK: What characteristics of him do you admire?

Li Zhaohui: His attitude toward photography. The workmanship is required to be extremely deliberate and careful. And the maker will pursue perfection in every detail including mounting. I think this pursue for perfection is good.

XITEK: Many outstanding photographers have not received professional training. How do you make up your mind to engage in photography and make progress step by step?

Li Zhaohui: First of all, simply it is a hobby. I loved painting since my childhood. I participated in a photography association when I was an undergraduate due to personal interests; when I was at my thirties, I was a tour pal and I went outdoors and I travelled here and there. Naturally, I carried my camera. At the very beginning, I made photos simply and gradually I found that to be a photographer is very interesting and a photographer can do many things. So I become a photographer due to my interests. Now, 90%, if not 100%, of my life (including time and energy) is occupied by photography. I have endless energy in photographing. I find it very interesting, and I am very exciting whenever I talk about photography.
Do not limit yourself. Do not limit to photography or something else. What can express the contents best will be the best.

XITEK: Nowadays, the connection among various artistic medium is closer. What’s your opinion?

Li Zhaohui: I am now learning step by step. I think one cannot exert too many constraints on oneself. If you are constrained, you will not act freely and the things you want to express will be not expressed completely and perfectly. For example, recently, I have visited Su Wen’s exhibition “Beijing Silver Ore”, which shows things beyond photography. I think it is really amazing. And it will not make people feel implausible and constrained by the photographic images. You can take photos of whatever you like in whatever ways; and whether such ways are helpful to your expression; if photography cannot express it, you can present it in other ways. Now, to me, photography is able to express my ideas. I am therefore engaging in photography now. If someday it cannot express my ideas any longer, I may say goodbye to it as well.

XITEK: How long does it take you to finish this group of works from the very beginning when you have the idea in your mind to the end when you display the works?

Li Zhaohui: It takes two years or so to finish the accumulation process form the time when I have a specific train of thought to final presentation because I majored in biology science and I have worked in hospital for a dozen of years. Actually, it did not take a rather long time to take the photos. But firstly I need step into a technical path and I need do a trail shooting when I want to present something, which is very complex. This is also true for the choice of lighting. I took two photos for the first time: one was black and white, the other is colored. After deliberate consideration, I chose the black and white. At the very beginning, the light was reflected strongly and there was much water on the organs and there were many highlight points. I have thought many methods: for example, I bought a white cloth to surround the studio. And I had tried many times and made it finally. I think the most difficult is not technology, but that you must get the objects to shoot. It took me half a year to find out a channel to take such photos there.
Actually, this program has not been finished yet. I expect to take 30 photos or so, and now I have taken over 20 photos. I must take photos of some important organs but I do not have the specimen now and I will wait. Maybe it will take five years to get the specimens. Organs such as heart and male genitalia are essential in my photography and they cannot be neglected because they stand for many things and they have much significance. But these important organs can only be obtained only by chance rather than by seeking. I do not know how long it takes to find these organs.
This is the first time for such organs to be displayed in Lianzhou. Half a year ago, I have finished the photos this way. I took them to Teacher Duan Yuting, and she asked whether such photos can be placed in Lianzhou Exhibition, which makes me very exciting. I really thank Lianzhou a lot and my thanks will also go to Teacher Duan and Teacher Bao. They have helped me a lot from the first time when I went to Lianzhou to take part in their expert meeting up to now.

XITEK: Now, the heavy smog and the traffic jam are serious in Beijing. More or less, we will connect these changes with these organs. Would you bring Specimen to Beijing for exhibition and I think it will make a big difference.

Li Zhaohui: You’re right. Actually, the final presentation of works has not been finished. About how to present it, I now intend to present it in one edition and present it in original size. 15 centimeter will be presented as 15 centimeter in proportion of 1: 1 to copy the original images cautiously. I may also present it in bigger edition, where viewers may see many details and you have offered good tips to me and I may display the specimens in particular circumstances and particular environment.

XITEK: Enlarge the focal points of the mass majority will leave an impressive impression.

Li Zhaohui: China develops rapidly, which brings some inevitable problems, problems can be proposed to think about in my opinion. In many cancer villages, the pollution is serious and the cancer incidence is pretty high. If such works can be enlarged and placed in the cancer villages or places with heavy smog, they will make people think of a lot of things.

XITEK: After you finish these works, what kinds of works would you prefer to create?

Li Zhaohui: Specimen 2, and I cannot reveal you too many details. But about taking what photos and how to such photos, I can tell you that I will take colored photos and I have had a general image in my mind; Specimen 3, I merely know what to take but I do not have a general image in my mind. But it will be a complete, designed series.

XITEK: Ok, thank you!

Li Zhaohui
From Yichang City, Hubei Province, Li Zhaohui graduated from Department of Biology, Peking University and he is now engaging in medical work.