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- As part of a partnership with Christian Louboutin, your photo series “La Habana in Waiting" that you shot in Cuba was on display at Art Basel Hong Kong in 2014. What is the concept behind the shoot?
- In another recent shoot, you used a budget of $9 to shoot photos of fake “made-in-China" luxury goods purchased at a small-town local market. What inspired this idea?
- Whether for commercial or art shoots, your work often has many elements referencing political or military themes in China—especially those related to the Cultural Revolution. What do you find compelling about these ideas?
- One example of a Cultural Revolution reference was your “Shanghai Dreamers" campaign shot for Dior in 2010, which generated a great deal of controversy over the use of white models in couture juxtaposed with a mass of identical Chinese subjects. In the spring of 2014, the photos went on display in Lille, France. Has the response to the series changed after the initial controversy? Looking back on it now, do you have any new thoughts on the work?
- Much of your work pushes the envelope in its portrayal of political topics or issues in Chinese society, such as a “Chinese Lolita" photo series you did for a fashion line depicting a young Chinese mistress with an older white man. While it's not uncommon for art pieces to be provocative, have you ever found it surprising that so many luxury brands are using this for their advertising?
- Commercial fashion labels are often very interested in collaborating with artists for both advertising and special products. Do you believe artist-brand relationships are beneficial to both parties?
- Do you think international luxury brands are becoming more interested in working with Chinese artists?
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