Unbounded Bound
Unbounded Bound, a project created by Lilla Lin in collaboration with producer Yin Zhang, tells a story of the Tibetan people, more precisely, of the lives of herders working in the incense factory. Tibetan incense is symbolic of the culture and traditions of the local people. To the foreigner, the notion is connected to the idea of freedom and spirituality that people seek to escape to, especially from urban realities. As Lilla explains, “As certain traditional customs faded away, the symbolic spiritual role of incense diminished among the younger generation. However, in the context of Tibetan culture, incense retained a rich significance and connection within religious and cultural contexts.” The beauty that shines through the images shows the strong connection of people to their land and customs. Human relationships are supported by the appreciation of the place and the understanding of the roots that have to do with spirituality, forming a picture of a wholesome life.
Lilla Lin is a Shanghai-based photographer who seeks to speak about the construct of personal and collective identity through the experiences of people and their connection to the physical place they inhabit. In this interview, we discuss Lilla’s interest in Tibetan herders, the connection with subjects that was established despite the challenges connected to the language barrier, and the aspiration of women in this society. Modernity and urbanization come in contrast to the idea of freedom and life in rural areas. Lilla says that one of her goals is to learn more about the relocation of families, how it affects them, and the position of women today expanding beyond the Tibetan region.
‘The initial attraction to this project was the desire to portray the life and work of Tibetan nomadic herders, as well as the process of incense-making.’
Tibetan Herders
Hi Lilla, it’s very nice to meet and speak about your series, Unbounded Bound. With this project, you decided to present the life and work of Tibetan herders and the process of making incense. What drew your attention initially to work on this topic?
The initial attraction to this project was the desire to portray the life and work of Tibetan nomadic herders, as well as the process of incense-making. There has always been interest in Tibetan culture throughout the world, often romanticized as a contrast to the highly competitive urban life driven by capitalist orders. Many inland China tourists seek a brief escape to the Tibetan region to experience the imagined freedom of a nomadic lifestyle.
Similarly, like many young people in 2023, I was enduring stress and anxiety in the city, making me susceptible to Yin Zhang's proposal for this project. Yin, too, grapples with an existential crisis within herself, drawing from her background in the fashion industry and a profound commitment to sustainable fashion. While addressing concerns about the Western romanticization of Tibetan culture, she recognizes a similar enchantment occurring domestically, impacting psychological well-being.
On China's Xiaohongshu, akin to Instagram, the trend of embracing a nomadic lifestyle and digital nomadism has surged. However, this seemingly liberating lifestyle is not easily attainable for everyone. Through this project, Yin collaborates with me, exploring parallel facets and delving into the possibilities of self-inquiry.
The choice of Tibetan incense as a focal point stemmed from its ubiquitous presence in our lives and its traditional significance in cultural practices. As certain traditional customs faded away, the symbolic spiritual role of incense diminished among the younger generation. However, in the context of Tibetan culture, incense retained a rich significance and connection within religious and cultural contexts. We also aimed to create a platform for spreading Tibetan culture by exploring the meaning and uses of incense to help improve the income and living standards of people in the Tibetan region.
‘My most profound realization from this project was learning how to view people's living conditions more comprehensively and objectively.’
Being an Outsider
Some of the main themes you address with your work are the individual experiences, the juxtaposition of urban and suburbs, and the quest for spirituality and freedom. While the viewer can perceive these themes through the images and the characters you present, there’s also a parallel process going on that has to do with your personal learning. What have you discovered about yourself while working on the project in Tibet?
My most profound realization from this project was learning how to view people's living conditions more comprehensively and objectively. Being outsiders, immersing ourselves for the first time in the daily rhythm of life of the incense makers at the Labrang incense factory, working alongside them, and engaging in communication, revealed more tangible and realistic issues.
Amid modernization and digital globalization, the people in the Tibetan plateau are facing the collision of tradition and modernity. Young mothers with modern awareness aspire to a more equal status in marriage and family life, the descendants of Tibetan nomads worry about the future, and the vast grasslands experience a constant tug-of-war in geopolitical exchanges.
When urbanites briefly escape from the cyclical life dominated by capitalism to this region, they discover that the grassland nomads, bound by day-to-day labor, also yearn for modernization and a departure from their current lifestyle. Life for us is akin to an eternal puzzle on the other side. Beneath the immense romantic fantasies about ‘the other side’, there lies a concealed undercurrent of bitterness.
Opposingly, there is no escape from reality. Whether as individuals or as a collective, finding solutions to the challenges of survival remains a long-term exploration and confrontation. Yet, through a nuanced examination encompassing economic, geographical, cultural, and psychological aspects, practical avenues for resolution can be discerned. Despite the seemingly subtle influence of individuals, we believe that a shift in collective consciousness and mindset can pave the way for practical and impactful solutions.
‘While many photographers intentionally amplify the realism of photos when capturing people in the Tibetan region, we intentionally avoid this perspective.’
Building Relationships
When making images of the community and people in their daily lives, it is important to establish a connection and explain the goals of the project. What was your way of creating relationships with some of the characters in the images and getting accepted into the community?
Communicating with women in the Tibetan community proves challenging due to language barriers, as the majority speak Tibetan in their daily lives, and many women do not speak Mandarin. Considering that most individuals in our photos are women, verbal exchanges become a struggle to fully comprehend their genuine thoughts. Dependence on translations from their husbands or children results in second-hand information. However, this situation prompts us to pay more attention to sensing their intentions and gaining insight into women's understanding of their own identity. Through the lens during the filming process, I can feel their subtle emotions more profoundly.
While many photographers intentionally amplify the realism of photos when capturing people in the Tibetan region, we intentionally avoid this perspective. Most women, like anyone else, desire to present their beautiful side in photographs but may also feel insecure and uneasy. Therefore, before the photo shoot, we plan and engage with them for several months through preliminary communication. Another consideration is that Tibetan women often find themselves in a vulnerable position within cultural and aesthetic contexts. To alleviate their cultural insecurities, we explain our perspective on beauty to them.
Next Steps
What is the project or theme you are most interested in to start working on and explore in 2024?
In 2024, I aim to study at RCA, a personal journey that is integral to my project. Placing myself in the diaspora enables a profound study of women's survival conditions in this context. Curious about the parallels between my family's early immigration decisions and the contemporary aspirations of young women. Simultaneously, I aspire for further advancement and successful implementation of the OYA OYA 2024 project in the Tibetan region.
