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Yuan uses still life objects within his photographs perhaps as symbols, or as a representation, suggesting what is happening outside of the frame.

The way that the body interacts with these objects is important, see above the child appears curious of the pencil sculpture in front of him, and you are left wondering if he is the creator of this reconstructed object.

His photographs assign a value and meaning to these everyday items.

His use of fruit in both still life and his fashion campaigns is re-occurring, linking to that of his childhood memories of attending fruit markets in Shanghai.

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Focusing on themes of consumption in relation to childhood, I have explored my own experiences with my desire for collecting.

How do any material items hold value? What is the difference between economic value, historical value or sentimental value? How can this relate to a child like desire to collect found objects.

What does the level of care for these objects say about the level of care that we attribute to the pieces that we already own? When living in a capitalist society we are encouraged to constantly consume the new.

The sculptural hanging mobile is a symbol associated with my childhood. Made out of scraps of pottery, glass and shell, found on the Thames Foreshore, the mobile is designed to be observed, as the objects interact with light and space.

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Clay pipes collected from the Thames Foreshore 

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"objects continue to exist even though they can no longer be seen or heard."

What was the history of these objects? What was their original use? How did they end up here?

How can I give new meaning and purpose to something that once had a purpose but now has little to no value

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Pipes gifted to my Grandfather, Cornwall 2023

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Mapes deconstructs the source image literally and figuratively and reconstructs the representation of an original painting as a collection of hundreds of individual parts. Beyond prints of the actual painting, Mapes incorporates factual and fictionalized content utilizing entomological and forensic approaches. This content includes genealogy info, costume jewelry, clothing fragments, fabric samples, dental X-rays, fingerprints, hair samples, paint samples and additional photos of human subjects.

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Michael Mapes 2007, Still Life Specimens

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Michael Mapes 2007, Still Life Specimens

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How can we deconstruct and reconstruct to give further value and meaning?

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Neurodivergent behaviours

For some ASD individuals, the items themselves are not uncommon for a collection, but the strength of the attachment is striking. One individual may say that parting with even one of the objects would feel like "a death in the family." And indeed, they may seem more attached to the objects that they are to the people in their life.

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made with pieces selected from the Thames Foreshore

I have attributed a new meaning to these disregarded objects upholding a level of care while going through the process of selecting them, washing them, categorising them and constructing them

Giving new value and meaning to something that no longer has any

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'the images gather a sense of the city’s multiple identities, channelled through the photographer’s keen eye for chance encounters with light and composition.'

'the subtly surreal or uncanny'

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Alongside publishing independent photobooks as the co-founder of Same Paper studio, Yuan Xiaopeng spends time photographing street scenes of Shanghai. Captured with portrait orientation, the images gather a sense of the city's multiple identities, channelled through the photographer's keen eye for chance encounters with light and composition. The series presents views of Shanghai that may otherwise have slipped unnoticed, with Yuan Xiaopeng often pointing his lens in the direction of street corners, cracks in the surfaces and close-ups that render their subjects (at first) unrecognisable. As a viewer becomes familiar with Yuan Xiaopeng's work, it can be discovered to arise with an interest in the subtly surreal or uncanny, hidden in plain sight of everyday Shanghai life.
All images © Yuan Xiaopeng

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A Portrait Of Shanghai By Yuan Xiaopeng - IGNANT

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Alongside publishing independent photobooks as the co-founder of Same Paper studio, Yuan Xiaopeng spends time photographing street scenes of Shanghai. Captured with portrait orientation, the images gather a sense of the city's multiple identities, channelled through the photographer's keen eye for chance encounters with light and composition.

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'images that are simultaneously generic and intimate, often treading between humor and cynicism.'

'an ongoing investigation into the mechanics of photographs, and their ability to both retreat into the personal, and expand to relay collective experiences.’'

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Roe Ethridge (American, born 1969) takes equally from his work as a commercial photographer, and artist. Blurring the lines that separate the two, Ethridge creates images that are simultaneously generic and intimate, often treading between humor and cynicism. Functioning in tandem, these motivations coalesce into an ongoing investigation into the mechanics of photographs, and their ability to both retreat into the personal, and expand to relay collective experiences. In 2020, Ethridge participated in New Visions, Henie Onstad Kunstsenter, Hovikodden, Norway. From 2016 to 2017, the Contemporary Arts Center, Cincinnati, hosted the first comprehensive survey of Ethridge's work in the United States. Other solo exhibitions include: Shelter Island, FOAM, Amsterdam, 2016, Le Consortium, Dijon, France, 2012, traveled to Museum Leuven, Belgium, 2012. His work is held in the permanent collections of the Art Institute of Chicago, Carnegie Museum of Art, Pittsburgh, Los Angeles County Museum of Art, Los Angeles, Metropolitan Museum of Art, New York, Museum of Modern Art, New York, SFMoMA, San Francisco, S.M.A.K., Ghent, Tate Modern, London, Walker Art Center, Minneapolis, and the Whitney Museum of American Art, New York, among others.

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Andrew Kreps Gallery is a contemporary art gallery located in the Tribeca neighborhood of New York, representing the works of more than 30 international artists and estates.

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'These simple and rough landscape and my relatives, who are still living there, constantly remind me of my origin, heritage and social class.'

'transition area between urban and rural landscapes'

'I go back to my hometown every year for the Chinese New Year holiday and most of the time I act like a tourist. Even though I spent my childhood there, it actually makes me nervous'

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"These photos were taken in the place where I was born, located in the south of China. After my childhood, I spent most of my time living and studying in other cities in the country.

I go back to my hometown every year for the Chinese New Year holiday and most of the time I act like a tourist. Even though I spent my childhood there, it actually makes me nervous, as a result, it's very difficult to take my camera out to aim on the strangers, not even mention to directly aim on their faces. And of course, there are shy people everywhere, so often times, I just use my instinct to take photos of my relatives, landscape, nature, views of someone's back, and still life. The landscape there can always touch me. It is a transition area between urban and rural landscapes, it is a city built by the last generation who used to be farmers and farmed on this land. These simple and rough landscape and my relatives, who are still living there, constantly remind me of my origin, heritage and social class." - Xiaopeng Yuan

Xiaopeng Yuan now lives and works in Shanghai.

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"These photos were taken in the place where I was born, located in the south of China. After my childhood, I spent most of my time living and studying in other cities in the country. I go back to my hometown every year for the Chinese New Year holiday and most of the time I act like a tourist.

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Closing Ceremony Bookstore is a self-publishing discovery project based on the global scene of self-publishing culture.

Focus on photo books, artists’ book, as well as independent magazine world wildly.

Closing Ceremony physical bookstore is temporarily closed in 2018, and currently it is presented online and as irregularly scheduled pop up store.

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Established by Same Paper in 2015, Closing Ceremony Bookstore is a self-publishing discovery project based on the global scene of self-publishing culture. We focus on photo books, artists' book, as well as independent magazine world wildly. Closing Ceremony physical bookstore is temporarily closed in 2018, and currently it is presented online and as irregularly scheduled pop up store. We consider each pop-up as an opportunity to engage in developing the possibility of various spaces design and hybrid reading scenes for self-publishing.

Instagram @ClosingCeremonyBooks
submission info@samepaper.com

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Established by Same Paper in 2015, Closing Ceremony Bookstore is a self-publishing discovery project based on the global scene of self-publishing...

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Object permanence describes a child's ability to know that objects continue to exist even though they can no longer be seen or heard.

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Publisher: Loose Joints

Designed and edited by Sarah Piegay Espenon

Campaign Child speaks of the uneasy relationship between Western capitalist motifs and the global contexts they insert themselves into while questioning how desire is validated through photography.

'the uneasy relationship between Western capitalist motifs and the global contexts'

'unexpected narratives through the manipulation of bodies and objects in space'

'create new meanings out of disparate objects, bodies and situations. Each image attempts a balance: between the pure, clean, functional axis of photography as a communication tool, and the slippages that occur when juxtaposition and narrative gaps leave space for the mind to unfold.'

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48 pages, 25 colour photos, 213 × 275 mm

Stapled booklet printed entirely using environmentally friendly recycled materials and overprinted silkscreen cover

ISBN 978-1-912719-06-8, LJ129

November 2019

Designed and Edited by Loose Joints

Campaign Child by Chinese artist Xiaopeng Yuan uses the backdrop of commercial photoshoots to create new, unexpected narratives through the manipulation of bodies and objects in space. While developing as an artist, Yuan found himself routinely commissioned by Chinese kidswear brands to photograph white Western models and American settings within his native Shanghai. Using this controlled context as a parameter, Yuan began to excavate surreal, incongruous images with his young collaborators.

Campaign Childindulges in the language of commercial photography to create new meanings out of disparate objects, bodies and situations. Each image attempts a balance: between the pure, clean, functional axis of photography as a communication tool, and the slippages that occur when juxtaposition and narrative gaps leave space for the mind to unfold. Yuan's images often feel as if you have stumbled into a story in medias res: a young girl emerging from a tablecloth, an escaped budgie being trapped, a hospital bed dripping with liquid. Through unlikely combinations, Yuan asks us to consider what is existing outside the frame and forge links across disparate scenes, where each photograph bounces off the other to create uncanny new contexts. By restructuring commercial photoshoots into a space of imagination and play, Campaign Child also speaks of the uneasy relationship between Western capitalist motifs and the global contexts they insert themselves into while questioning how desire is validated through photography.

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Photobook Campaign Child by Chinese artist Xiaopeng Yuan uses the backdrop of fashion photoshoots to create new, unexpected narratives through the manipulation of bodies and objects in space. Published by Loose Joints.

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‘I enjoy it when my existence, or even the interference of a camera, is forgotten by the subjects I’m photographing.’

‘I construct a scene, and then observe. The final image may be the result of my observation and feeling'

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Xiaopeng Yuan: 'Hiding behind a camera is like hiding inside a stage curtain'

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'Through the lens' is our monthly series that throws the spotlight on photographers who are Wallpaper* contributors. Here, Xiaopeng Yuan talks about his vision, process, and shoots that make his heart beat faster

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'a coldness and eeriness opposing to youthful glee.'

'the dread of the unknown transpires'

'an air of puzzlement and curiosity'

'Yuan’s constant thematic discomfort leaves the viewer with a lingering sense of wonder'

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As another example, one photograph features a yellow canary underneath a stretch of plastic-wrap, which is being held down by the hands of an unknown figure. A dog peeks at the scene from the corner of the frame, giving off an air of puzzlement and curiosity. The image appears absurd, provides little to no context and the audience is left uncomfortable and questioning its brutality.

A similar feeling is evoked in the photograph of a collection of seemingly unrelated objects atop a glass table. A child gazes up at the familiar items: a basketball, a set of weights, a roll of tape, and a plethora of fruits and vegetables. Yuan's constant thematic discomfort leaves the viewer with a lingering sense of wonder, begging them to ponder what exists within and without the frame, and to use their own imagination to extend his narrative.

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Book Review: Campaign Child - Musée Magazine

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Xiaopeng Yuan creates a new narrative in which discomfort is a prominent theme: viewers may easily comprehend a photograph and yet feel uneasy, the more they look. He contrasts the children and their innocence with the looming presence of advertising.

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The Child in Surrealism by David Hopkins

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The Child in Surrealism by David Hopkins

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‘the surrealist attitude was one that was firmly rooted in Romantic conceptions of childhood, as a state closer to nature and to a form of natural ‘innocence’

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‘In February 2017, we lost our friend Ren Hang, a Chinese artist who suffered from depression for years and committed suicide this year at age of 29. When hearing this sad news, we fled to Beijing immediately, and so did other friends of his. It is a dark time for everyone especially the closest friends of Ren Hang’s. All photos in Our Friends were taken from 25th to 27th February 2017, it is a documentary for Ren Hang’s funeral, a farewell to our close friend.’

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In February 2017, we lost our friend Ren Hang, a Chinese artist who suffered from depression for years and committed suicide this year at age of 29. When hearing this sad news, we fled to Beijing immediately, and so did other friends of his. It is a dark time for everyone especially the closest friends of Ren Hang's. All photos in Our Friends were taken from 25th to 27th February 2017, it is a documentary for Ren Hang's funeral, a farewell to our close friend.

― Statement from publisher

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Our Friends - Xiaopeng YUAN | shashasha - Photography & art in books

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In February 2017, we lost our friend Ren Hang, a Chinese artist who suffered from depression for years and committed suicide this year at age of 29. When hearing this sad news, we fled to Beijing i...

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Still Life, an impressive collection of clever works created amidst 2020’s global standstill.

Still Life is usually considered one of the principal genres of Western art, endowed with a beautiful meaning; life is still.

In 2020, no matter where we are, we all are experiencing a similar but not the same predicament, and ‘normal’ has been replaced by stagnancy

‘Still Life’ is considered as a metaphor for the state of continuing to live in this predicament.

The pandemic broke the rules of our existence

‘We are curious that how these photographers would respond to the current circumstances, to the chaos and anxiety, and what would they photograph for?’

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Still Life

Still Life is usually considered one of the principal genres of Western art, endowed with a beautiful meaning; life is still. When we speak of still life in photography nowadays, a visual experience of a sculpture-like image comes up in our minds; objects are carefully arranged in a set indoors with a solid balance but yet faltering. The fragility of still life is always romanticized by the creators. As the world is amid the pandemic and chaos, it becomes inappropriate to enjoy this kind of leisure. In 2020, no matter where we are, we all are experiencing a similar but not the same predicament, and 'normal' has been replaced by stagnancy. Here in this book, 'Still Life' is considered as a metaphor for the state of continuing to live in this predicament.

We invite 13 photographers based in different cities to create stories around their Still Life. In the past, most of their works are often marvelous and unrestrained, approaching images with full utilization of their resources, having access to whatever they need, traveling wherever they want. Now on the contrary, as the pandemic breaks the rules of our existence, they no longer receive such commissions as they used to be, staying home and dealing with the endless stagnancy. In response, an intervention has been imposed on their freely selected topics, each photographer needs to create their stories indoors with limited equipment. We are curious that how these photographers would respond to the current circumstances, to the chaos and anxiety, and what would they photograph for? From the spring of 2020, we have successively received their new works - some monument like mixtures of objects, the intimate relationships with animals or their companions, the imaginary getaway, or depictions of their mental states. As a result, they present a series of images, drowning away from reality, either optimistic or depressive, tardy, polished, and fragile.

Photographers
Antje Peters Berlin
Bobby Doherty New York
David Brandon Geeting New York
Caroline Tompkins New York
Charles Negre Paris
Geray Mena Madrid
Harley Weir London
Makoto Oono Tokyo
Peng Ke Shanghai
Sergiy Barchuk Los Angeles
Sophie Tianxin Chen Los Angeles
Thomas Albdorf Berlin
Xiaopeng Yuan Shanghai

First Edition, 900 Copies
SIZE: 210mm x 270mm
PAGES: 250
PRINT: CMYK Four Color Printing
BINDING: Perfect Bound Paperback with Clear PU Jacket

Published by Same Paper
Designed by Han Gao
October 2020

ISBN 978-988-75196-0-7
©2020 Same Paper

Still Life is a project conceptualised, edit and produced by Same Paper.

Press
British Journal of Photography
It's Nice That
Collide24

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Still Life Still Life is usually considered one of the principal genres of Western art, endowed with a beautiful meaning; life is still. When we speak of still…

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Group show

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Join us for the opening of the weekend-long photography group exhibition 'Photos Authentiques, Romantiques, Magnifiques' on Friday, November 9th, 2018, 19h00 - 23h00 at Tabac Bar Le Reilhac on 63 Rue du Faubourg Saint-Denis, 75010 Paris.

Three nights, three servings:

FRIDAY 19h00 - 23h00
With: David Brandon Geeting, Xiaopeng Yuan, Nico Krijno, Charles Negre and Melchior Tersen
One-weekend exhibition 'Photos Authentiques, Romantiques, Magnifiques'

SATURDAY 18h00 - 23h00
With: Nick Sethi
One-night exhibition "YOU ARE WELCOME"

SUNDAY 15h00 - 19h00
With: Kamilya Kuspanova and Marie Déhé
The launch of "Look Into", a double-publication by The Community Press

'Photos Authentiques, Romantiques, Magnifiques'
A group exhibition with David Brandon Geeting, Xiaopeng Yuan, Nico Krijno, Charles Negre and Melchior Tersen.

Paris, amongst all cities and cultures, has developed such a unique cliché of being and acting Parisian that it has even grown to be a syndrome.
Even if Paris is continuing to transform into a more open and diverse cultural space, some of the old habits and narratives persist from one decade to the next.

We are happy to invite you to a weekend-long exhibition hosted in the Le Reilhac, a tabac bar located just around the corner from the original The Community. The exhibition marks our farewell to Château d'Eau before relocating to our new premises.

www.dbg.nyc
www.xiaopengyuan.com
www.nicokrijno.com
www.charlesnegre.com
www.melchiortersen.com

"YOU ARE WELCOME"
A project by Nick Sethi explores relationships between people and places expressed through a variety of readymade posters and an 8-year long photographic collaboration with Bob, Shuzun, Bilks, Nikita, Sonia, and Tania.

Nick's installation will be presented at Tabac Le Reilhac for one night only on Saturday.

www.nicksethi.com

"Look Into"
Kamilya Kuspanova and Marie Déhé
Accompanied by a text written by Haydée Touitou.

The third publication by The Community Press is a series of new works from two Paris-based photographers Kamilya Kuspanova and Marie Déhé. In "Look Into", two friends study and converse about the self-portrait from their own perspectives.

Marie embodies in a very physical form of self-portraits an intimate exploration of her own body, gender and self in transformation depending on the context and technical medium used. Her photographs are sensitive to their nature while showing a realistic and spontaneous view towards self-exploration.

Kamilya's work and self-portraits can be seen as a global collage-like approach towards visual narratives that deal with everyday magic, absurdity and mundane encounters. Her choice of using an iPhone places the images in a plane of technical and visual democracy. Kamilya often shoots in an observatory way, and her interlinked photographs manage together to form abstract ideas of humanity in the Information Age.

The launch of "Look Into" will be celebrated on Sunday and it will be the closing event of the weekend.

www.instagram.com/kamilyakuspanova
www.mariedehe.com
www.haydeetouitou.com

Hosted by Marie of Le Reilhac ❤️

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The Community | 'Photos Authentiques, Romantiques, Magnifiques'

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The Community is a collective-run, non-profit multidisciplinary art institution, established in 2016.

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“When I think of fruit, it reminds me of those large wholesale markets in small cities, like the ones I used to visit as a small child”

“I love how the fruits are shadowed and cut by the awnings under the sun, and the blocks of colour magically blend”

“The men's faces were covered with sweat and oil, the women were yelling and people were constantly arguing for a bargain. Those memories are still vivid to me.”

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"When I think of fruit, it reminds me of those large wholesale markets in small cities, like the ones I used to visit as a small child," explains Shanghai-based photographer (and one-third of It's Nice That Ones to Watch 2018, Same Paper) Xiaopeng Yuan. It was these memories that Xiaopeng drew from when shooting a recent campaign for Chinese fashion brand, JNBY.

Having worked with the brand for three years, JNBY approached Xiaopeng to shoot its recent collection. "They only told me it needed to be about fruit," he explains, "there weren't many limitations and they offered me a large degree of freedom." With a single word as his starting point, Xiaopeng created a concept which drew on his childhood memories, channelling them into a fashion context.

The resulting images are carefully composed, balancing the manic mass of shapes that is a market perfectly. "I love how the fruits are shadowed and cut by the awnings under the sun, and the blocks of colour magically blend," Xiaopeng explains of memories he recalled as a visual start point. "The mens faces were covered with sweat and oil, the women were yelling and people were constantly arguing for a bargain. Those memories are still vivid to me."

For his series, Xiaopeng found a similar market in a small city near Shanghai. "It was all temporary, we didn't even check the location in advance, we just turned up with the models who were wearing the clothes and walked into the dirty, messy streets of the market," he says. "The vendors were so curious that they gathered around meaning the shoot was crowded and lively." Xiaopeng's photos embody this energy, with scenes shot from above giving a sense of drama, and more intimate moments making use of the geometric shapes of the awnings, boxes and lorries.

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Photographer Xiaopeng Yuan draws on childhood memories of fruit markets in series for JNBY

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"When I think of fruit, it reminds me of those large wholesale markets in small cities, like the ones I used to visit as a small child," explains Shanghai-based photographer (and one-third of It's Nice That Ones to Watch 2018, Same Paper) Xiaopeng Yuan.

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Kinfolk.com uses cookies to personalize and deliver appropriate content, analyze website traffic and display advertising. Visit our cookie policy to learn more. By clicking “Accept” you agree to our terms and may continue to use Kinfolk.com.

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‘The culture that we live in today is a synthesis of foreign influences, remnants of tradition, and local wisdom.’ - Tsai

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Mario Tsai - named by Nendo's Oki Sato as a creative leader of the future for Wallpaper's 25th Anniversary Issue '5x5' project - talks about his experience working as a designer and entrepreneur in China, at the cusp of innovation and tradition

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A Portrait of Shanghai, Xiaopeng Yuan 2017

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A Portrait of Shanghai, Xiaopeng Yuan 2017

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A Portrait of Shanghai, Xiaopeng Yuan 2017

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A Portrait of Shanghai, Xiaopeng Yuan 2017

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Roe Ethridge, Tiffany Silver Still Life, 2017-2022 Dye sublimation print on aluminium

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Roe Ethridge, Apple and Black Glove, 2020, Dye sublimation print on aluminium

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Roe Ethridge, Beach Umbrella, 2020, Dye sublimation print on aluminium

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Xiaopeng Yuan reinterprets the Chinese fable, The Butterfly Lovers

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Xiaopeng Yuan reinterprets the Chinese fable, The Butterfly Lovers

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'a traditional tale of Chinese folklore with symbols of modernity'

“It brings a very romantic feeling whenever I think about this story, and some of the plots left a deep impression on me, so I took some plots from the story for this shoot, as well as some other fascinating entry points from research I did, such as their clothes, or gender identities.”

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Xiaopeng Yuan reinterprets the Chinese fable, The Butterfly Lovers, in a series for Télévision magazine

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For the cover story of the latest Télévision magazine, photographer Xiaopeng Yuan reinterprets Chinese folklore with symbols of modernity.

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The History of the 'Butterfly Lovers'

Liang Shanbo yu Zhu Yingtai "Reading the Revolution - Late 20th Century Chinese Graphic Novels

'Zhu Yingtai, daughter of a prominent family, disguises herself as a young man, leaves home and goes off to school where she both achieves notable academic success and falls in love with fellow student Liang Shanbo. Studies finished, before returning home she tells Liang to call on her parents to ask for her “younger sister” in marriage, but when he arrives, he finds she is already affianced to the son of the wealthy Ma family. Liang dies of heartbreak, and when her wedding procession is interrupted by a thunderstorm while passing his tomb, she abandons her palanquin (sometimes boat), flees to the grave, which opens up to allow her to join her beloved. Souls transformed into butterflies, the two flutter off into eternity.'

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Monument to Liang Shanbo and Zhu Yingtai near the Tomba di Giulietta in Verona, Italy

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The Piskies were all identical little old men, no higher than an inch tall. The wore red caps, white waistcoats, green stockings, and brown coats and trousers. On their feet they wore brightly polished, buckled shoes. The Piskies were good people who helped the old, but they were mischievous.

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A piskie (or pixie or pisky) is a type of mischievous fairy with pointed ears and a haircut like Jean Seberg's in Breathless (just kidding).

Cornish piskies are piskies from Cornwall, England and have become a popular emblem of the region. The main distinguishing factor between Cornish piskies and piskies from elsewhere is that Cornish piskies do not typically have wings.

The record on these mythical creatures is a little mixed. Some say they are troublesome, while others report that they are helpful with housework. In any event, at some point, the idea that Cornish piskies are lucky took hold.

According to the Museum of Witchcraft and Magic located in (where else?) Cornwall, "Not so long ago almost every Cornish household had some kind of Pisky charm to attract the luck that the good will of the Piskies was thought to bring." For this reason, souvenirs from Cornwall also feature the piskies prominently.

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Cornish Piskies - The House of Good Fortune

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An exploration of the possible connection between Lucky Cornish Piskies and Knee Huggers

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My Grandfathers Cornish Piskey

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How does consumption relate to that of collecting? How does it speak on the care and meaning that we attribute to our possessions? What value do they hold?

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Museum of Black and White No 5, 2010 collage with found objects (c) Peter Blake

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The river's debris is my pleasure and my obsession

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The river's debris is my pleasure and my obsession

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Mudlarking on the Thames foreshore

It is both a familiarity with the river's hoard and the unpredictability of its yields that keep me mudlarking.

I have to remind myself that what constitutes a history-hunting hobby for me is really scrabbling about for ancient rubbish, from a point of privilege. And when I post images of my finds on Instagram, I feel a little like a cat laying out its catch. But the sound of the water, and the swell of the tide always tempt me back. By the river, London's history is tangible at a time when the future feels more uncertain than ever.

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My own collections and finds - how does this distinguish the contrast of the 'rural from the urban'

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Looking inward at the care and value that I attribute to my found objects from the Thames foreshore - a habit that has continued on from childhood - attributing care and value to these somewhat 'useless' objects

- My childhood, I would dig for the scraps of pottery buried in my grandparents garden and on our towns river bed

- How this relates to Neurodiversity - the strength of attachment to these miscellaneous, useless items - the psychology behind that

'transition area between urban and rural landscapes'

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Photographer and co-founder of photo publishing studio SAME PAPER, Yuan Xiaopeng provided a unique perspective on photography through his experience of making the magazine Closing Ceremony.

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Glass Dragon by David Brandon Geeting and Xiaopeng Yuan

'violent and fierce images and scenes that are continuously happening on the street'

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Same Paper Magazine: Issue 10000 / Same Studio

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Same Paper Magazine: Issue 10000 / Same Studio

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Same Paper Magazine: Issue 10000 / Same Studio

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Same Paper Magazine: Issue 10000 / Same Studio

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Same Paper Magazine: Issue 10000 / Same Studio

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Our Friends

Publisher: Same Paper

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The Shadows Dream

by Jeff Scher (Director) and Revoir Video

Revoir Video, 2009

A street film based from the perception of the shadow

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Campaign Child, Xiaopeng Yuan, November 2019

Designed and Edited by Loose Joints

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Campaign Child, Xiaopeng Yuan, November 2019

Designed and Edited by Loose Joints

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Campaign Child, Interview with designer and Editor Sarah Piegay Espenon

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Campaign Child, Interview with designer and Editor Sarah Piegay Espenon

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'The image of whiteness reflects a perfect lifestyle'

'The images are beautiful, but there is an underlying feeling that something bad is about to happen — like watching a tea-cup sway on the edge of a table'

'The mixture between feelings of anxiety and childishness is the point that attracts me' - Yuan

"The book is intentionally meant to feel a bit broken, punctured or off-kilter, and so the sequence reflects that too. You have little bursts of images or moments of deliberate repetition" - Sarah Piegay Espenon (Designer and Editor)

“Everything in the book has an appearance of normality, but something isn’t quite right”

“We wanted to decompose the normal protocol of how one would subconsciously consume”

a space of imagination and play

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The images in Yuan's latest book are gentle and dream-like, but looking closer, something's not quite right

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The hanging mobile

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Yuko Nishikawa creates a fantastical environment with her colorful, textural lively forms.

Growing up in a small seaside town just south of Tokyo, Japan - a place where things grow and things decay to nourish new lives, and where people wonder and discover something new.

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Handmade mobiles with ceramic beads for sale

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Callum O’Keefe - Antiques of the Future Past

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Callum O’Keefe - Antiques of the Future Past

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Photos of Obsessive Collectors With Their Collections

“These individuals have often been documented before, but in a negative light”

“My intention with the project is to show that these are normal individuals with extraordinary passions which make them really happy and content.”

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Back in the bad old days of the pandemic - when literally nobody was allowed to go out and do normal stuff, you know, like sit on a park bench -photography students had to graduate without putting on their traditional university degree shows. So VICE asked the class of 2021 to send in their best work and, once everything calmed down a bit, we put on an actual show for them with the kind folks at the Photobook Cafe.

We also ran a competition to pick the best of the best among them, with five winners all given the chance to put on their first solo show at the newly remodelled Photobook Cafe, which - full disclosure - is looking pretty damn good. These obsessions sometimes takes them to strange places. The heavily-tattooed antiquarian bookseller John Anthony Westwood, who transforms into talismanic Portsmouth FC fan Pompey John on match day, has been painted for the National Gallery. Welsh legend and baked bean enthusiast Callum O'Keefe's Antiques of the Future Past is our first winner of the lot. The Merthyr Tydfil-based photographer and UWE Bristol graduate is exhibiting a series of work that explores collecting - the subculture, the hobby and the act of putting together a body of work that expresses something greater than its singular parts. Much like a photography portfolio itself, actually. O'Keefe - whose dad collected Coca-Cola merch - says he sourced most of his subjects through online articles, Facebook pages and forums. Between them, they collect everything from royal family memorabilia to Heinz Baked Bean objects, football souvenirs to antique vacuum cleaners. Captain Beany, who dresses almost exclusively in orange, has raised £100,000 for charity. (Sadly, his Baked Bean Museum is closing this year, but you can still buy some of his objects at auction.)

"These individuals have often been documented before, but in a negative light," O'Keefe tells VICE. "My intention with the project is to show that these are normal individuals with extraordinary passions which make them really happy and content." Check out the photos below and head down to the Photobook Cafe on Thursday 9 February to check out O'Keefe's show.

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Photos of Obsessive Collectors With Their Collections

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Callum O'Keefe explores the all-consuming nature of collecting in 'Antiques of the Future Past', his solo show at the Photobook Cafe.

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Child Animism: What the Child Means by "Alive"

S. W. Klingensmith

'Piaget studied Animism: Animism means the attributing of life and consciousness to certain inanimate objects' - 'Consciousness attributed to things'

'Whether or not a child attributes consciousness to an object is determined by asking him if the object can feel or is aware or various sorts of stimulation or activity'

'The child who attributes consciousness and life to anything that is in any way active, undamaged, or useful'

a Childs connection to inanimate objects - in relation to my childhood desire for collecting things from the ground. I 'could not' leave them behind

Non living things have the desires to think, feel and act like them

A strong emotional response to non living objects

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Photographer and social scientists sought out objects that focus on decision-making for people described as suffering from mental illness.

How can a decision be made when the person in question is described as being incapable of deciding for themselves? How can their perspective, and that of their friends and family, be taken into consideration? How can it not be taken into consideration? In each case, the dangers the person faces, as well as the dangers they put others in, have to be weighed up against jeopardizing their freedom.

The perception of these dangers makes a difference. What are acceptable risks, unacceptable ones, and for whom ? Each decision brings into play a combination of experiences, knowledge, perceptions and norms. These “marker objects” beckon, signal, allow stories to be told that are intertwined with the lives of those that suffer, those that care for them, those that love them and live with the uncertainty.

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Tzusing new full length album 绿帽 green hat cover 

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for Tank Magazine the narrative issue Producer: Vivi bian (V+M) &Abi

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for Tank Magazine the narrative issue Producer: Vivi bian (V+M) &Abi

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Xiaopeng Yuan, picture for Haim Shanghai

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Prized Posessions, Wood, Newsprint, 11 × 14 in, 2022

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Nostalgic imagery through playful object associations.

'I’m always on the hunt for beauty / oddities as I’m walking around or surfing the web. I’m always collecting things and seeing how my collections work in interaction to create new meaning. Every day is an adventure and every artwork a puzzle.'

'Simply re-contextualizing these items in an art / fashion context can elevate them and give them value and purpose.'

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Make Me Feel Better Like You Always Do, Wood, Newsprint, 11 × 14 in, 2022

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Objects and Meaning: New Perspectives on Art and Craft

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Objects and Meaning: New Perspectives on Art and Craft

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Camp, Charles, Western Folklore, Chico Vol. 64, Iss. 3/4,  (Summer/Fall 2005)

'The shared sensibilities that enable us to translate objects into meanings compel us to proceed respectfully, seriously, thoughtfully. To do less, or to excuse ourselves when we fall short, devalues not just the enterprise in which folklorists and art historians, academics and curators, students and teachers are engaged but the people who have entrusted us with their work, their art, their need to be heard, and their desire to be understood.'

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Callum O’Keefe - Antiques of the Future Past

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Callum O’Keefe - Antiques of the Future Past

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Callum O’Keefe - Antiques of the Future Past

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The term transitional object was coined in 1951 by Donald Winnicott as a designation for any material object (typically something soft - a piece of cloth, say, or part of a plush toy) to which an infant attributes a special value and by means of which the child is able to make the necessary shift from the earliest oral relationship with the mother to genuine object-relationships

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Photography by Xiaopeng Yuan
Styling by Shotaro Yamaguchi

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A thing of beauty and permanence in an age of transience. Since 1998.

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Featured in Issue 1 - Street photography in Shanghai

Closing Ceremony Magazine is a ‘closing ceremony’ for the traditional/classic photography and a warm welcome to the new. We would like to offer a platform for those new photographers who might or might not have market recognition yet, to present their works on print and create a dialogue with the world.

Established by Same Paper in 2015

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As a child the things that we attribute meaning and importance may hold little value in the adult world

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How does over consumption effect the care that we take for the material items that we already own?

If everything is so replaceable, what is the value in what we already have? Why should we give something a second life?

My actions of hand selecting each, washing and cleaning them, sorting them into categories, reassembling them in a new way, is a tactile process, corresponding to the idea that we should take care of the objects that we do have and value them, rather than allowing pieces to become old and forgotten

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Stories of damage and repair

Exploring peoples relationships with their favourite pieces of clothing. The sentimental value that they hold. Why mending and giving these items a second life can be important to someone

The stories describe the ways in which clothes and cloth become holed, why a damaged sweater or backpack can be emotionally affecting and how mending a garment can unstick a stuck feeling.

“Mending work builds on what is left behind. It’s not replacing, or remaking, or cutting apart and putting back together, instead it is slow work that makes things better. It conjures an unhurried recovery or change. In textiles, the act of mending wear-and-tear, thinning cloth or accidental damage builds on what already exists, anchoring threads and yarn into the robust healthy fabric and filling in the holes or reinforcing the areas that are weak.”

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Cylia Pym, Mended Potato Bag, paper bag and wool, 2020

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Tide Mark is created from a stockpile of man made objects collected over several years on a specific stretch of coastlne at Dungeneess in Kent. My walking path was always along the tide mark which is a visible line of  seaweed mixed with flotsam and jetsam. I was particularly interested in how the original colour and appearance of the objects had transformed over months in the hostile sea environment. These manufactured objects were at the end of their life cycle, battered, worn and of no use or function. The elements were carefully categorized by colour to form a 6 metre long line of objects. Starting with white objects and ending with black, a kind of tide mark through the colour spectrum is produced.

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“Rather than commenting on the negative effects of consumerism, we wanted to present the questions that we were asking ourselves about it in a lighthearted and jokey way”

Same Paper was eager to explore various aspects of consumerism: online shopping, the role of imagery, and the ability for it to bring about short-term pleasure while at the same time providing a distraction from the outside world.

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Amazine: Same Paper's new photography zine

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The Shanghai-based publisher invited five photographers to make use of Amazon's return policy, exploring current trends in life-style products and the role of photography in consumerist culture

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'nothing has been staged.'

'these are white and blond children and American settings – indicating a strong influence of Western Capitalism on the Chinese fashion industry.'

'The innocence of a child combined with the cold leery gaze of advertising is what makes it all so familiar yet uncomfortable'

'uses the backdrop of commercial photoshoots to create new, unexpected narratives’

‘new meanings out of disparate objects, bodies and situations.’

‘the manipulation of bodies and objects in space’

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Campaign Child: Xiaopeng Yuan

Title

Campaign Child

Format

Thread-sewn book w/ overprinted silkscreen cover, 48 pp, 213 × 275 mm, 25 photos

Campaign Child by Chinese artist Xiaopeng Yuan (b. 1988, China), a Shanghai-based photographer, immediately takes off with confronting and rather absurd images: a breathless canary bird crushed down with a clean film on the floor; a hospital bed dripping with liquid; children sharing the same pair of jeans; a girl spitting something out while the adult hands are holding a white napkin in front of her. And the most surreal thing of it all: nothing has been staged.

All are real behind-the-scenes pictures, extra photographs taken at commercial photoshoots of Chinese kidswear brands. One other remarkable aspect: these are white and blond children and American settings - indicating a strong influence of Western Capitalism on the Chinese fashion industry.

For Campaign Child, Yuan found inspiration from his earlier work: his commercial photographing for various Chinese brands. The images in this book - produced in a calm pastel palette - have something weird and uncanny about them. The innocence of a child combined with the cold leery gaze of advertising is what makes it all so familiar yet uncomfortable - and with that, Yuan manages to make the viewer arrive at a confusing if not opposite 'feel' when compared to more straightforward advertisement imagery.

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Campaign Child: Xiaopeng Yuan - GUP Magazine

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Campaign Child by Chinese artist Xiaopeng Yuan (b. 1988, China), a Shanghai-based photographer, immediately takes off with confronting and rather absurd images.

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Children as Collectors

‘Children learn or satisfy curiosity about their collecting domain, satiate a passion for the objects which are desired, want to differentiate themselves from others, and desire to associate with others, especially family and friends.

child consumers had an estimated $9 billion income in 1989, but influenced purchases of over $132 billion

children have a substantial amount of spending power, which is particularly significant because almost all of their income and influence goes toward discretionary purchases.

Schiffer, Downing, and McCarthy (1981) found that just over 60 percent of the households which they surveyed had at least one collection, with the average of 2.6 per household.

child consumers and their motivations for collecting:

with age and the acquisition of a sense of value, often derived from stamp collecting, a child shows in miniature the psychological pressures that urge its parents to collect....as in the case of adults, more attention should be paid to the motives that oblige people to find an emotional outlet in art (or any other form of collecting)

the motives with which the collecting process is approached and the task effects of the process aid children in their developmental process and in their search for identity.

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This work delves into the themes of consumption and collecting by exploring the childlike inclination to ascribe significance and worth to discovered items. Through the act of gathering fragments of pottery, bones, and clay pipes from the Thames Foreshore, I given new contextualised meaning to something that had been neglected to obscurity. By selecting these objects, cleaning and categorising them, and reworking them, I imbued them with a sense of care and consideration. This process not only enhances the existing elements but also underscores the importance of cherishing what we already possess.

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Land stretching from the western tip of Cornwall to the Isles of Scilly 30 miles away. This land was inhabited by a race of strong people. Here they built many churches, 140 in all, and the beautiful city of Lions. The crowning glory was a great cathedral, or some say a castle, set atop what is now the Seven Stones reef half way between Land’s End and the Scillies. The land was Lyonnesse and legend states that it was all swallowed by the ocean in a single night.

How can the history of the land and ones heritage be of importance?

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The land of Lyonesse is said to have spanned from West Cornwall to the Isles of Scilly. One night it was destroyed in a terrible flood leaving behind only the tolling of bells beneath the waves

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Yuans ties to themes of childhood and the ‘innocence of a child’

‘How desire is validated’

Collecting - how do we assign value to material possessions

The care or carelessness that we attribute to our objects

'consumption' - why do humans feel the need to over consume - even when something has little to no value - the idea of value - What does value mean - sentimental value/economic value/historical value

‘transition area between urban and rural landscapes’

‘Observation and interference ‘

'the ability for it to bring about short-term pleasure while at the same time providing a distraction from the outside world'

'unexpected narratives through the manipulation of objects in space'

“We wanted to decompose the normal protocol of how one would subconsciously consume” - Sarah Piegay Espenon

‘new meanings out of disparate objects, bodies and situations.’