‘The daughter of photographic history: Historical Photographic Processes and Poetic Expression’

Exploring poetic expression through the practice of historical photographic processes within the context of contemporary art.

By Guido Folco – 30 August 2026

In his exploration of poetic expression Tonghe Yang has found a distinctive photographic approach of his own. With historical photographic processes being central to his artistic expression. A source of inspiration to his practice is exploring the question: ‘Fine Art Photography or Photographic Art?’ From this question he began to produce his series: ‘The Daughter of Photographic History’.An extensive body of work rooted in his study of the history of photography and examination of the legendary artists that underpin it. The name: ‘The Daughter of Photographic History’ draws inspiration from Cindy Sherman.Through Sherman’s influence Tonghe Yang began to work with role play. Shifting role, gender and personality throughout his work.At times appearing as a sharp eyed, young documentary photographer capturing the hidden realities of Northeastern China with a large format camera. At others, as a transgender person moving through the nightlife of marginalised communities.Each transformation contemplating problems Yang encounters in contemporary society.Through his work a focus on portraiture has emerged, with skilful use of Polaroid Photography, Van Dyke Printing and large format cameras. Through the self-portrait he explores the unique and irreproducible qualities that historical photographic processes provide the image. A kind of magic carried forward from an earlier age. Black and white or colour. Man or daughter.Classical or modern. Throughout these shifts he maintains his form of poetic expression. In his still images one can sense a vivid vitality in motion. His quality receiving recognition from audiences and juries in a series of exhibitions.Poetry also plays an important role in Yang’s practice. Beyond writing, his photographic practice acts as a vessel for his poetic soul.
Finding poetic pursuit through his exploration of historical photographic processes.

Having settled in London Yang’s creative ideas began to develop in many directions. Working between classical and modern modalities, by combining digital imagery and historical photographic processes.Yang became proficient in WetPlate Photography, combining this with digital imagery.To striking and strange effect. As seen in: ‘The Daughter of Photographic History: I Had a Ball’.
Yang exerts that as artistic media change the personal information carried by a portrait blurs. This blurring mirrors the difficulty of clearly articulating his gender identity as a transgender person, creating a hazy poetic expression.He also presents poetry on the theme of ‘The Future’, self-accompanied by shamanic music. Intermingling the mysterious force of the ancient world with the technological quality of contemporary mixed media art. Provide the work’s distinctive ambience and conceptual depth.Additionally, throughout Yang’s extensive body of photographic work he employs poetics through his use of defamiliarisation, de-authorisation and exploration beyond the image.
These fluid ideas captured by his camera and fixed, as still images. Which challenge tensions within contemporary art: Classical or progressive, linguistic or pictorial.
Art as question posing, art as problem solving being central to Yang’s practice.Creating a logic flow of process: Question, consideration, answer.
Documented through his growing catalogue of exhibition reports. The work poses witty questions to the viewer through the artist’s process.
Demonstrating Yang’s proposition that: ‘The mission of the contemporary artist is to use art to solve problems on behalf of philosophers.’

Yang’s trip to Venice, to present work at the ‘Kunst Depot’, marked an important turning point. Presenting a large format black and white self-portrait, from ‘The Daughter of Photographic History’ series. The work was inspired by Robert Mapplethorpe’s ‘XYZ’ series. Yang appears in black erotic lingerie, holding the shutter release cable of a large format camera. His body twists into an exaggerated pose, empathising his contours.Black silk scales his body, like a fish.
Through this portrayal and its exposure of his body Yang explores his desire for racial integration, mutual respect and equality through eroticism. The dramatic use of the expressive power of the erotic image, through its implication of physicality, is a motif that Yang employs to confront the viewerThe presentation was described as remarkable, even within the broader history of photography.

Having received support and appreciation from many viewers Yang returned to the UK. Presenting his work again for the Aesthetica Magazine 2026 Art Prize.
There he displayed ‘The Daughter of Photographic History: Concealment’. Discussing his experience as a transgender person from China in a new manner. Featuring Chinese aesthetics and indirect expression interlaid with Yang’s bold imagery. Key elements of the photograph symbolise his experience, reflecting the constraint on LGBTQ people in China. These symbols include: BDSM accessories, the artist and his clothing. Through them Yang arranges a cinematic experience from his experience. Weaving together a narrative from fragments of visual information.Demonstrating Yang’s distinctive artistic thought, through photographic technique and his poetic expression.

Tonghe Yang has shown his development as a young artist through a series of photographic practices. Receiving recognition in the UK, Italy, China and beyond.
Establishing his presence as an international artist. His photographic process captures a series of performances that connect deeply to who he is. He uses them to communicate his process and thoughts. Combining his restrained reflection and vivid expresion. Echoing the media he is drawn to: poetry and historical photography‘The Daughter of Photographic History’ draws on the rich legacy he inherits from his medium. Developing his thought and potential through artistic practice. Yang views images an an almost limitless resource. Fragments of reality, with a greater authenticity.He moves between the worlds of images and reality, using his experience as a bridge.
Bringing the magic of this transcendence to contemporary art.