Haoran Fan (b. 1991, China) lives and works in New York. He received a master degree in photography at the School of Visual Arts (NYC) in 2016. Influenced by multi-disciplinary academic backgrounds (with sociology, advertising, integrated marketing and graphic design), he has been exploring photographic subjects and approaches in a great diversity of directions and methods. Based on still photography, Fan’s art practice currently focuses on exploring the coexistence of natural landscapes and human behaviors. Through reconstructing reality and fiction, Fan creates a new space which peaceful and poetically states the interaction between objects, human beings and emotions.
Fan’s work was selected and exhibited in PULSE Miami Contemporary Art Fair, APA Top 30 Untitled Exhibition, Helac Fine Art, and Robin Rice Gallery, nominated for the Tokyo International Foto Awards, Fine Art Photography Awards, Photography Grant London and New York Times Portfolio Review.
In between is a photographic series created in 2015 when I was practicing the transition from traditional landscape photography to conceptual photography.The conversation between the objectivity of nature and subjectivity of human behavior is indeed the focus of my art practice. In my eyes, nature itself has an infinite amount of energy, which has nothing to do with motion but stillness. Nature is too powerful to be manipulated, which somehow triggers me emotionally to express my feeling towards them. When I was brainstorming and constructing this project, time, history, space displacement and second creation became a set of keywords in my mind and directed me to deepen the concept of nature and human. In order to keep the originality and objectivity of natural landscapes, I photographed a series of black and white classic landscape photographs which include a variety of objects that represent the nature of time to an extreme, such as water, stones, tress, etc. Then I printed them out, fully relied on my head and fingers, felt the black and white images, and colorized the specific areas which connect me the most visually and emotionally. These decisions are made instantly rather than carefully planned. Lastly, I used threads and transparent materials to connect the prints, with casual responses, then created several theatrical spaces. The entire creating process is trying to reconstruct the nature from its original three-dimensional form to a newly manipulated three-dimensional status.
As a result, in between is not only the resonance between nature and human but also the interesting and meaningful process in my second creation. The 20-centimeter distance between the physical prints and my sight, spirit and thinking, created my personal emotional experience, which is intimate, peaceful and intuitive.
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