Chen Man, described in her Twitter bio as a ‘representative of modern Chinese visual artists’, is a photographer working in Beijing. Though her work is most associated with the commercial fashion industry, it was the playfully hyper-futuristic aesthetic of her personal projects which attracted my attention most. In particular, her Pioneer series exemplifies her wish to combine the two concepts of beauty which can often seem utterly disparate (by the consensual understanding of ‘nature’). She discusses this in what her interviewer describes as ‘a lazy Beijing burr’ in this article from Time Out Shanghai:
‘There are two kinds of beauty: natural, real things – flowers, children, the sky – and artificial, manmade things, things derived from human wisdom like iPads, cars, design. Now I’m trying to combine those two kinds of beauty.’
A fairly simplifying approach to take to the subject, but one that produces images which are almost startlingly contemporary in their dedication to the surface, to the aesthetic value. The skin-tight plastic of the Pioneer’s dress; her lean, straight frame; the uninterrupted smoothness of her skin and hair – all combine to give the impression of a commercial product. The fetishisation of plastic, of sleek functionality, is projected onto this model, and one can’t help but note that when identifying the ‘beautiful’ in this image, we tend to find ourselves admiring more the ‘artificial, manmade’ category of Man’s description.
This is by no means a new phenomenon, and I do wonder at the perseverance of the appeal of beautiful lady-machines. In particular, the potentially more modern occurrence of female artists (particularly in the pop culture spectrum) appropriating these ideas of the indisputably female cyborg and applying this to themselves, or their subject (I can’t help but think of Janelle Monáe… and not just because I’m listening to her Electric Lady album as I type). The objectification of the female form has been long-practiced in art, this is an inescapable historical fact, but is the sentiment so changed when a female artist is doing the objectifying? The image of a technologically-empowered female figure has been noted by many to serve as an illustration of the ‘Monster’ of modern times (Maria from Fritz Lang’s Metropolis is a well-known, early example of this), and is very much present this photograph from Man’s Pioneer series (I can’t find the name for this anywhere – should’ve taken better notes in the S&A Gallery):
The model here has produced a satellite from under her skirt. Her face belies sexual arousal, with no hint of shyness in the direct eye contact with the camera. The troubling infantile costume is my only (yet overriding) issue with the series. As an extreme vision of the strictures put in place by the mass media of our patriarchal society, and at the same time playing right into the overt sexualisation of prepubescent girls, the costumes in this series are a worrying indication of an all-too-common theme (particularly in science fiction) of the female giving up her womanhood, for an immortal life steeped in reticence.