Wing Shya / Hong Kongs's Enigma

WING SHYA: HONG KONG’S ENIGMA

There is an art to taking photos, which we can all clumsily learn; and then there is photography that opens up a world of iridescent dreams and peculiar fantasies, in which each characters’ emotions are tangible, caught in a momentary standstill. It is this kind of photography that steals our hearts and Wing Shya has made it his forte.

Those of you in Asia will have definitely heard this name. He is currently most notably known in the West as the exclusive photographer and graphic designer for Wong Kar Wai’s films, such as ‘Happy Together’, ‘2046’, ‘Eros’ and ‘In the Mood for Love’. However Wing Shya is also a director of Chinese films such as ‘Heroes in Love’ and short ‘Lost & Found’, and finds his home in Hong Kong. Award winning Shya is the biggest name in film and fashion photography in this corner of the world; and a legend that has helped put this small ex-colony on the creative map, especially in the midst of its recent creative slump.

He has shot the biggest names in Asia, including our last cover model, Taiwanese superstar Shu Qi as well as other such celebrity dignitaries Maggie Cheung, Tong Leung, Nicholas Tse and David Beckham. In Hong Kong, and now more internationally, Shya has become somewhat of an indie sensation made big. In working with advertising and fashion as well as other more personalised projects, he has created a distinctly international repertoire that is still infused with his nostalgic atmospheric style.  It is a style which often infuses and bleeds tones of red, blue and green onto his images creating a dreamlike tonality. His works are infused with cultural references- not displayed, but entrenched into the spirit of each image.

Shya’s images are often thought of as poetry caught in motion, of such plainly beautiful and natural composition and full of incredible soul. They are diving head first into another world where movement is blurred and people move in ways that are not for functionality but as to inspire art. The intimacy that Wing captures of his subjects shows a distinct and implicit insight into their psychology and were too daring for conservative critics within mass media to accept.

Initially criticized in his native Hong Kong by these critics, radical Shya has since become the darling of Hong Kong’s contemporary art world. In the 1980s, when Shya studied at the Emily Carr Institute of Art and Design in Vancouver, he set up a successful design house in Canada. Years later, the call of the East beckoned again and he returned to his native Hong Kong to set up the Shya-la-la Workshop, producing award-winning narrative photographic works, film and design projects. Currently, Shya has exhibited in Singapore, Hong Kong, Shanghai and Tokyo and contributed to international arts and fashion publications such as iD, French Vogue and 32c.

Now officially a hot commodity, Wing Shya gives WestEast an exclusive selection of his own works that he feels best describes his vision. They come from a varied collection, and here WestEast obtains a brief insight into the maestro and his art.

What is your philosophy on what makes a beautiful photograph?

A beautiful photograph has to have its own spirit.

Beauty – is it really in the eyes of the beholder?

Yes and no. Everyone’s definition of beauty is different.

Would you consider your aesthetic Asian, or influenced by Asian culture?

I am more influenced by cinema than Asian influence. I’m definitely inspired and fascinated by Asian culture, that’s the reason I want to keep exploring along these themes to help me understand it better.

How have your experiences in film shaped the nature of your photographs? Do you find yourself more drawn to the narrative?

I used the narrative to evoke the emotion in my photos. That instant from the narrative is what I’m looking for.

How do you feel on being one of the only Asian home grown photographers recognized on the international arena?

I feel really fortunate and really appreciate Wong Kar Wai because from working on his films my photographs can reach out to more people.

As the world globalizes, both politically and culturally, do you find it harder to pinpoint and interpret cultures?

Globalization is inevitable. But for me just to count Chinese culture and its history there’s still so much yet to be explored.

What is wrong with Hong Kong’s arts scene?  And what do you think can be done to resurrect it?

Perhaps more exchange with other international artists it could help expand the scale of the scene.

Who or what has been your favourite subject and why?

Maggie Cheung. She is very intelligent and every time we work together she will give me something new and unexpected.  I always look forward to working with her.

People have often commented on the dreamlike atmospheric nature of your images, how would you personally describe your style and aesthetic?

I have a very cinematic aesthetic. From the cinematic style I try to use that narrative to try to capture the emotion/expression. I started as a still photographer and I’m more drawn to this kind of narrative.

Has it been difficult to mix artistry with commercialism?

It is not difficult, but it’s more about the opportunity to combine both elements.

Text: Jing Zhang 
Images: Wing Shya

Published in Issue 24 GLOBALIZASIAN, 2008

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