Luckily I met Moro
Featuring Pixy Liao Words by Nastasia Khmelnitski
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The female gaze, one of the main themes in Pixy Liao's work, brings to the viewers' attention a shift in the angle to read the work of a creator. Pixy builds her universe through experimenting with self-photography in which she and her partner, Moro, present dynamics of the relationship that merges personal and artistic worlds.
Often reversing the position of power in the relationship, Pixy questions the norms to eventually shift the power again and offer the main action of releasing the shutter to Moro. With this final action, Pixy brings forward a topic of the essence of art and the place of an artist in their creation. “The cable release serves as a clue in my images to help the audience to read into the intention of the photos and the relationship between us.” - Pixy explains.
Pixy Liao is a Chinese photographer from Shanghai who is currently located in New York. She decided to relocate to the US to study art and post-graduated with an MFA in Photography from the University of Memphis. Pixy took part in various exhibitions in the US and Europe. In this interview, we speak about her move to the United States, her relationship with Moro, who became a meaningful part of her work.
We discuss the third edition of her book, The Experimental Relationship Vol.1, which includes images from 2007 to 2017, and is a part of an ongoing project. Pixy describes the book as being “not just about intimate relationships, the female gaze, but also about time and growing older together.”
‘Luckily, my teachers at the University of Memphis gave me enough guidance but not too much restriction on what I should do in art, so I was able to slowly figure out my own way in photography.’
I Am
You were born in Shanghai, China, at a certain point, you moved to study towards your MFA in photography at the University of Memphis. Leaving a couple of years now in Brooklyn, NY, what are the main differences in culture and the approach to art and photography when comparing China and the US?
I didn’t study art in China. I was worried about being 'schooled' too much in an art school, so I decided to go to the US to study photography. Luckily, my teachers at the University of Memphis gave me enough guidance but not too much restriction on what I should do in art, so I was able to slowly figure out my own way in photography. Since I didn’t study art in China and my art career was developed in the US, it’s hard for me to compare the two. It’s definitely not easy to be an artist in either country. In the US, you have so much competition. There are so many great artists, especially in New York. But I do benefit from the diversity in the American art world, and also there are many non-profit art organizations that support young artists.
‘I feel there’s a lack of image types that truly satisfy my personal interest. I always find myself enjoying works by gay photographers way more than the widely known 'good' and 'classic' photos.’
Moro
You’ve been working on self-portraits for over ten years now, capturing each time a new idea and developing the personal relationship and the narrative you present to the viewer. You met Moro while studying in the MFA program, and he has become a part of your work ever since. In what way do you think self-portraits helped you in developing your relationship and work?
When I just came to the US to study photography, honestly, I was very confused about what type of photographer I wanted or could be. It was an open-ended question. Luckily I met Moro. And our new relationship interested me, and I started to self-portrait with him. The self-portraits not only helped me find my own way of making photos but also helped me to get to know myself and Moro.
‘People are usually curious when they notice Moro is the one who holds the cable release in a lot of photos. The cable release serves as a clue in my images to help the audience to read into the intention of the photos and the relationship between us.’
The Constructs
What does being a Chinese female photographer living in NY mean to you?
Being a Chinese female photographer in NY means I’m an outsider in the US, but also an outsider in my own homeland, which I actually find an advantage that I don’t need to consider too much how to be included, but focus on my own vision.
What are some of the often-repeated questions you hear about your work from your audience?
People are usually curious when they notice Moro is the one who holds the cable release in a lot of photos. The cable release serves as a clue in my images to help the audience to read into the intention of the photos and the relationship between us.
Experimental Relationship Vol.1.1
The book was already published in the third edition of 500 copies this year. Vol.1.1 depicts your relationship with Moro showing images from 2007 to 2017. Discovering nuances of what a relationship is or how it is seen by society leads towards realization also about the self; the book appears to be a milestone reached on both personal and professional levels. What themes do you think Vol.1.2 or Vol.2 will include, and how do you see your photography shape its form in the near future?
The Experimental Relationship Vol.1 was my work from 2007 till 2017. After two years of publishing, we modified the binding method and edited a small portion of the book, and made a better version Vol.1.1. My plan for the Experimental Relationship project is to keep working on it as long as we can. At the same time, I’m not a very productive photographer. I might only produce a couple of images a year. So I assume the next one, Experimental Relationship Vol.2, will come out in the next 10-11 years. This work is not just about intimate relationships, the female gaze, but also about time and growing older together.
Next Steps
What project are you working on or planning as the next one?
I’m working on non-photo-based works right now as COVID has made traveling and photoshoots not accessible anymore. These days I enjoy learning new skills and working on conceptual works that are related to female experiences.
