Focusing the lens on East Asian women, Chinese Singaporean photographer Elizabeth Lee deconstructs the limits of western narratives with the aim of shifting perceptions In recent years, zine culture – peddled by the democratisation and widespread reach the internet can afford young creatives – has experienced a powerful resurgence as a form of social activism. In the past, zines have provided youths with a platform to subvert the dominant structures of mainstream press and self-publish through the confines of an underground DIY scene. Underrepresented and marginalised communities could voice their frustrations and outsider perspectives through an unfiltered channel that didn’t have to conform to the traditional notions of established media outlets. We’re currently at a strange place with the dichotomies of race. The western world has seen the rise of white nationalism and also the emergence of complex racial discussions within the media on topics related to cultural appropriation, whitewashing, identity and getting ‘woke’. Many ethnic communities and individuals have turned to self-publishing through zines and homegrown mags as a way to carve out their own safe spaces online and, through organised zine fairs, meet like-minded individuals.



Courtesy of XING © Ronan McKenzie

Courtesy of XING © Teresa Eng

XING is a photo book and online archive that’s emerged from this disruptive form of publishing. Helmed by photographer and curator Elizabeth Lee, the stylish red-bound book with gold lettering bears a volume of images transgressing western stereotypes attributed to East Asian women. Lensed by an international roster of photographers, the visuals simultaneously mimic and satirise western notions placed upon the hyper and de-sexualised East Asian female form. By focusing the perspective on a community that’s largely underrepresented, it explores the concept of Otherness whilst aiming to normalise and spotlight women, and their forms, to viewers. Cultural layers projected onto East Asian women are pinned, unpicked and shifted. Accompanying the physical book is its online counterpart – an Instagram account that acts as an archive of images conveying facets of East Asian representation and youth identity. 23-year-old Chinese Singaporean artist Elizabeth Lee, aside from creating XING, has worked for Antenne Books and is currently the online co-ordinator of PYLOT Magazine, a fashion and fine art publication championing analogue photography and the absence of beauty retouching. Below, we catch up with the artist to discuss XING, her personal reflections on representation and which photographers we should be looking out for this year.

Courtesy of XING © Takuya Nagata

Could you tell me a bit about your background and how your environments have shaped you? I was born and raised in Singapore. Growing up in the city had its fair share of opportunities and disadvantages. I never considered [myself] to be academically inclined, and the emphasis that was put on academia was difficult, especially for individuals like me who struggled with math and sciences. I soon left for London after completing a diploma in Mass Communication where I specialised in journalism, with the hopes of gaining experience and exposure to the diverse art scene that London finds home in. I soon picked up photography professionally, using the still image as a vessel of expression and communication. I have since developed a keen interest in exploring the postcolonial and the subaltern body, focusing on femininity in our contemporary world. London has been an incubator for my personal growth professionally and personally; [there’s] a diverse port of individuals supporting one another amongst the creative community. I still have hope for the art scene in Singapore, and this is what I wish to contribute to in the future. In the most unexpected sense, Singapore and my Chinese upbringing provided me with the foundation for my work today. Growing up in a multicultural city fostered a worldview that was slightly rose-tinted [as] there was a strong emphasis placed on racial tolerance and understanding other cultural practices. The Singapore landscape, with its tenacity and emphasis on hard work, equipped me with a sensibility which I approach my work with today. Can you explain what XING is? XING is a photo book. It’s a collection of ideas surrounding the theme of East Asian female representation. The project began when I had an epiphany about how Otherness was, and still is, perceived in the west. I was always particularly drawn to the depiction of women and XING is a result of the combination of the male and Orientalist gaze. Stereotypes are rife, even in our so-called ‘modernised’ world today. Too often, Asian women exist in polarising archetypes – the subservient housewife, the tea-serving geisha, the dragon lady, the ingenue schoolgirl. Considering the state of where our world is today, there could not have been a better time to address misconceptions of lesser-known cultures and racial groups. The book explores a facet of East Asian female identity, with an aim to shift the perceptions of this group, whilst providing a window into understanding the psyche of East Asian females today.

Courtesy of XING © Tammy Volpe

Why is the book titled XING? In Mandarin, the pinyin word ‘xing’ takes on various meanings. It means ‘sexuality’, ‘sex’, ‘essence of a person’, ‘to wake up’ and ‘to grow aware’. I thought it was rather fitting to have a name that could take on various meanings, allowing one to interpret it in their own way. The Instagram features images of Japanese erotica. What are your thoughts on sexuality and representation in relation to East Asian women? Personally, one of the most major, if not the most pressing, issues of the representation and preconceptions of Asian women lies with sexuality. More often than not, the Asian female is either hyper-sexualised or hyper-desexualised. Based on generalisations, the exotic-erotic can be commonly referred to as Otherness, and applied to the parameters of XING. She is assumed to be an underworld sex vixen, proficient in the art of seduction, or the cherubic virgin – but still sexually available and brimming with provocative potential. She is amorous yet dangerous, seductive yet blasé. The exotic-erotic was a main factor that influenced XING’s creative concept, and it still remains to be problematic. With the current movement in racial and gender representation in photography, Asian female sexuality is a catch 22 in contemporary practice; but it is this challenge that continues to fuel me to motivate change.

Japanese erotica film posters #xingarchives #poster #japan #erotic #sex #femmes #femininity #fareast #fareastangels A post shared by XING (@xi__ng) on May 15, 2017 at 1:09am PDT