“Photographic thinking” centres Chen Xiaoyi’s artistic practice, which is also influenced by the aesthetics of nature, as well as Eastern philosophy. During the 2020s, she spent time in the Hengduan Mountains, considering how the geographical elements around her are always transforming, and how humans and time interact with the environment.
Chen Xiaoyi was born in Sichuan in 1992. Her maternal grandfather was a key influence on her: not only did he encourage her creativity, but he allowed her to play with his camera, which sparked an interest in photography. Leaving China for England, she studied at Leeds Metropolitan University between 2010—2013, gaining a degree in photographic journalism. However, she realised that the narrative method of news photography was not how she personally understood images, and for her MA (at the University of the Arts London) she switched her focus to fine art photography and became fascinated by the creative process of developing images in the darkroom.
Across photography, photogravure, sculpture, sound and video installations, Chen Xiaoyi’s works examine the intersection of different forms of existence within geological and cosmological timeframes. She plays with scale—for example, magnifying water drops in her Hidden Time (2015—2016) series—and draws inspiration from her environment. She has spent a great deal of time in the Hengduan Mountains, yet this is not her only geographical influence: in 2018 she lived in Switzerland and became fascinated by glacial erratics. Her 2025 exhibition Moths and Butterflies/Goodbye/All the Weight of the World considers ecological memory and how humans occupy the Earth: “It is an attempt to re-understand how to continue existing in a world that is vast, silent, indifferent, and ancient.”
Yes, she has published the photobooks Koan (2014/2017), Clouds Dictionary (2015) and Paperbush (2024). She has said that she considers all the elements of a book—space, layout and typeface—and that creating a book is similar to planning an exhibition: “The photobook is another form of an exhibition which allows more privacy.”
During the early 2020s, Chen Xiaoyi began spending time exploring the Hengduan Mountains and this moved the focus of her work to considering the ecological issues surrounding the mining industry. In February 2026 she posted on Instagram that she had crossed Baima Snow Mountain 14 times during the past year.
Chen Xiaoyi’s work is based on photography, but she also produces sculpture and sound and video installations. She also uses photogravure on paper and zinc plates.
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