To overcome the condition of social isolation shared by millions of people during the pandemic period of 2020, Li Aixiao decided to overcome the physical limit between private and public, coming into contact with the domestic universe of strangers. For the author, the exploration of family contexts represents the social and artistic experience that allows you to get closer to others, get to know them closely and form emotional bonds with them. Thus the limitations dictated by the health emergency lead her to identify with the lives of men and women never seen before, portraying their faces and bodies in hieratic and proud images. These photographs are the talkative expression of individual identities, and express that strong desire for closeness and proximity that unites the author not only with the subjects portrayed but with all of humanity.
Where did the idea for your project come from?
The idea for my projects stems from a deep passion for connecting with people and uncovering the personal stories that shape their lives. Between 2013 and 2019, I worked on a project called "Personal Belongings," where I captured 100 individuals alongside their most meaningful objects. This allowed me to delve into people's intimate relationships with objects that reflect their life experiences and identities, offering a unique lens through which to view their personal stories.
The COVID-19 pandemic became a turning point in my work. In early 2020, I was forced to stay at home for a long time. I felt suffocated by being closed in and by the dragging sense of time. While everyone was social distancing, I wanted to escape my own space to find new ways to reconnect with others. This led to I Am with Me, I decided to enter each participant’s personal space and experience directly how it felt to open myself up in an unfamiliar environment. It is particularly meaningful for me during the pandemic.
How did you choose your subjects and how did you come into contact with them?
I choose my subjects based on their agreement with my belief that nudity represents authenticity—stripping away societal expectations and revealing a person’s true self. My work focuses on the aesthetics of human interconnectedness, not on eroticism, and emphasizes trust, empathy, and authenticity. Taking off all clothes is not just about undressing, it is a process of removing the camouflage, letting down one’s defenses, and revealing oneself not just physically but psychologically. Therefore, my subjects must feel comfortable being unclothed during the shoot.
I posted a request for participants on social media, and those interested reached out to me via email. I asked them to describe themselves and their private space. After careful communication, we agreed on a time, and I would visit their private space to do the shoot.
Is it possible to consider photography as the expressive and healing tool that helped you overcome the social isolation imposed by the COVID-19 pandemic?
Yes, photography became an expressive and healing tool for me during the social isolation imposed by the COVID-19 pandemic, but this healing was mutual. My subjects and I shared intimate, meaningful moments. Most of my work took place in their homes, where they lent me their clothes—rings, earrings, daily wear, and sometimes even items as intimate as new underpants. It felt awkward at first, but wearing their clothes brought us closer. I could smell their scent and feel their body warmth, which helped me imagine what it was like to be them. This process created a warm connection, and my subjects found it interesting to see me in their clothes.
We spent the day doing everyday things—chatting, playing with pets, trying traditional makeup in Hanfu, and so on. These moments helped us both connect deeply. A tacit understanding grew up between us: when I give you a sense of security you need to keep me safe.
Throughout the three years of this project, I deliberately didn't highlight my own identity, sometimes even wearing a mask. Afterward, some subjects couldn’t recognize me when we met again, but they remembered how I looked in their clothes. That was the point: they didn’t need to remember me, but rather to reflect on themselves. I also realized that I, too was undergoing a metamorphosis—I wasn’t just me; I could become anyone. Photography allowed both my subjects and me to connect, heal, and overcome the isolation together.
What are your plans for the future as a photographer and artist?
My future as a photographer and artist will continue to build on the intimate interactions and explorations that began during the global crisis. The series I developed during the pandemic not only expanded my understanding of the human body and space but also deepened my appreciation for the complex emotional connections between people. These interactions, based on trust and sharing, have shaped the direction of my work moving forward.
I plan to further explore human connection in a post-pandemic world, especially as we face ongoing challenges like local conflicts, the rapid rise of AI, and increasing social conservatism. These factors are likely to diminish physical contact and emotional connections, making it essential to delve deeper into how people relate to one another in these evolving contexts. The exchange of trust and vulnerability that became the core of my recent series will continue to guide my future projects, as I seek to understand and reflect the increasingly complex and diverse human experience.
为了克服 2020 年疫情期间数百万人所面临的社会孤立状况，李艾筱决定突破私人和公共之间的物理界限，接触陌生人的家庭世界。对于作者来说，探索家庭背景代表着一种社会和艺术体验，可以让你更接近他人，密切了解他们，并与他们建立情感纽带。因此，卫生紧急情况所造成的限制使她认同从未见过的男男女女的生活，用神圣而自豪的图像描绘他们的面孔和身体。这些照片是个人身份的表达，表达了对亲密和亲近的强烈渴望，这不仅将作者与描绘的对象联系在一起，而且将作者与全人类联系在一起。
你的项目想法从何而来？
我项目的想法源于对与人联系和揭示塑造他们生活的个人故事的深切热情。 2013 年至 2019 年期间，我创作了一个名为《私人物品》的项目，拍摄了 100 个人和他们最有意义的物品。这让我能够深入了解人们与反映他们生活经历和身份的物品之间的亲密关系，从而为观察他们的个人故事提供了一个独特的视角。
新冠疫情成为我作品的转折点。2020 年初，我被迫长时间待在家里。被封闭和时间的拖延让我感到窒息。当每个人都在保持社交距离时，我想逃离自己的空间，寻找与他人重新建立联系的新方式。这导致了《我和我同在》的创作，我决定进入每个参与者的个人空间，直接体验在陌生环境中敞开心扉的感觉。这对我来说在疫情期间特别有意义。
你是如何选择拍摄对象以及如何与他们接触的？
我选择拍摄对象是基于他们是否同意我的信念，即裸体代表真实——摆脱社会期望，展现一个人的真实自我。我的作品注重人类相互联系的美学，而不是色情，强调信任、同理心和真实性。脱掉所有衣服不仅仅是脱衣服，这是一个去除伪装、放下防御、不仅在身体上而且在心理上展现自己的过程。因此，我的拍摄对象在拍摄过程中必须感到不穿衣服很舒服。
我在社交媒体上发布了参与者的请求，有兴趣的人通过电子邮件联系了我。我让他们描述自己和他们的私人空间。经过仔细的沟通，我们约定了一个时间，我会去他们的私人空间拍摄。
是否可以将摄影视为帮助您克服 COVID-19 大流行造成的社会孤立的表达和治疗工具？
是的，在新冠疫情导致的社交隔离期间，摄影成为我的一种表达和治愈工具，但这种治愈是相互的。我和我的拍摄对象分享了亲密而有意义的时刻。我的大部分工作都是在他们的家里进行的，他们借给我衣服——戒指、耳环、日常服装，有时甚至还有新内裤这样亲密的物品。一开始感觉很尴尬，但穿上他们的衣服让我们更亲近了。我能闻到他们的气味，感受到他们的体温，这帮助我想象成为他们是什么感觉。这个过程创造了一种温暖的联系，我的拍摄对象觉得看到我穿着他们的衣服很有趣。
我们整天都在做日常的事情——聊天、和宠物玩耍、尝试汉服的传统妆容等等。这些时刻帮助我们双方建立了深厚的联系。我们之间产生了一种默契：当我给你安全感时，你也需要保护我的安全。
在这个项目三年的时间里，我故意不突出自己的身份，有时甚至戴着面具。后来，我们再次见面时，有些拍摄对象认不出我了，但他们记得我穿上他们的衣服的样子。这就是重点：他们不需要记住我，而是要反思自己。我还意识到，我也在经历蜕变——我不仅仅是我；我可以成为任何人。摄影让我和拍摄对象能够一起联系、治愈和克服孤独。
你对未来作为摄影师和艺术家的计划是什么？
作为摄影师和艺术家，我的未来将继续建立在全球危机期间开始的亲密互动和探索的基础上。我在疫情期间创作的系列作品不仅扩展了我对人体和空间的理解，也加深了我对人与人之间复杂情感联系的理解。这些基于信任和分享的互动塑造了我未来作品的方向。我计划进一步探索人类后疫情时代的社会联系，尤其是当我们面临持续的挑战，如地方冲突、人工智能的快速崛起和社会保守主义的日益增长时。这些因素可能会减少身体接触和情感联系，因此必须更深入地研究人们在这些不断变化的环境中如何相互联系。信任和脆弱性的交流已成为我最近系列的核心，我将继续指导我未来的项目，因为我寻求理解和反映日益复杂和多样化的人类体验。