Fan LI

Year of birth: 1981.
Where do you live: Saint Cloud, France.
Describe your art in three words: Luminous, Impressionistic, Emotional.
Your discipline: My discipline is fine art photography, with a focus on creating images that blend the essence of Impressionist painting with the unique qualities of photography. I approach photography not just as a way to document reality, but as a creative process that transforms light, color, and movement into emotionally evocative compositions.
Website | Instagram

Your work is often compared to Impressionist painting. How would you describe the relationship between photography and painting in your artistic vision?

As a fine art photographer, I view drawing as the master of photography. In the realm of art, paintings, especially Impressionist works, are my primary sources of inspiration. Historically, drawing has evolved from being a tool for documentation to a means of expression, and eventually to abstraction. This journey mirrors my own approach to photography, where I seek to blend the expressive qualities of painting with the precision of the photographic medium.

What inspired you to use long exposures and minimal post-processing in your work? How does this approach contribute to your unique style?

In 2017, during a walk in the park of Saint-Cloud, I came across a tree that reminded me of a painting by Renoir. This moment inspired a question: is it possible to create a photograph in the same way one paints a painting? That question led to a year of trials and errors. By 2018, I had finally developed my technique. Using long exposure, I take the time to recreate the effect of brushstrokes, with my camera becoming my brush. I rely on minimal post-processing, meaning very little editing, because the results I achieve during the shoot are already captivating. For me, the creative process is far more engaging when it happens in the moment of capture, rather than during post-production. This approach not only evokes the essence of Impressionist painting in my work but also allows me to develop a distinctive style, characterized by traces reminiscent of brushstrokes.

Fan Li | Couleurs de mai Sicile | 2023

You’ve lived in both Beijing and France—how do the landscapes of these two places influence your photography?

I was born and raised in Beijing, a large city rich in history. It combines historical districts with very modern ones. Perhaps this is why I have a passion for architecture, especially historical architecture. Since 2004, I have been living in France, a country also rich in history and diverse landscapes. These elements have become the main subjects of my photographs. Some people say they sense a touch of Asian influence in my images, through the compositions and colors. I’m not sure if that’s true, as it feels completely natural to me.

Your photos are filled with light and motion. How do you capture the fleeting nature of light, and what emotions do you hope to evoke through this technique?

«Objects must be rendered with their own texture, and above all, they must be enveloped in light, as they are in nature.» This is a quote by Sisley. Like the Impressionist painters, I chase the light when I take my photos. The only difference is that instead of using real brushes, I use my camera, which has become my brush. I must be both very quick before the light changes and very slow to carefully draw the traces of light. It’s a fascinating process, and it makes each image unique. When I capture the echo of nature or images inspired by Impressionist paintings, I preserve them in my photographs. I believe that some may also feel this same sensation. I would also be very pleased if one can find their own memories and imagination in my work.

Fan Li | Les nénuphars effet du soleil | 2024

Your projects seem to explore both nature and architecture. What draws you to these themes, and how do they intertwine in your work?

Indeed, I don’t limit myself to specific subjects when I photograph. I often choose outdoor subjects, much like the Impressionist painters. What is most important to me is finding the moment when light and colors evoke strong emotions or imagery. Through the movements I make during the shoot, the modern aspects of architecture are softened. With the surrounding plants, it creates a true photographic composition.

How does your background in photojournalism, guided by your father, influence your approach to fine art photography today?

What I’ve learned a lot from my father are the basic techniques of photography. My works are often appreciated for their brushstroke-like touches and the traces that raise many questions about how they are made. But before that, it’s important to remember that to photograph « Les coquelicots » (poppies), one must first find the fields and walk through them. To photograph « La mer avant la tempête » (The Sea Before the Storm), one must go to the shore and wait until the storm arrives. Before applying my touch, it can already be a beautiful image. The principle of “F8, be there” is always essential. I’ve simply slowed down the time of my work.

Fan Li | Toits de Paris | 2022

Can you tell us about your creative process when approaching a new location or scene? Do you have a particular ritual or method that guides you?

I have two very different processes. The first one is that before I get there, I explore the location on Google Maps. With Street View, I already know exactly where I will take the photo, from which angle, and whether it will be in the morning or in the evening. Sometimes, I even rent a room to capture the view from its window. So, the image is already formed in my mind before I even arrive. Once I’m there, it’s simple. I just need to do what I had in mind, while of course applying my Impressionist style. The second process is quite different: I let myself get lost in a new place, without a map, without a phone, without anything. When you’re less familiar with the environment, you become more sensitive to what you see and hear. I walk slowly, discovering things step by step. I prefer to miss new views than to rush. And when you take your time, nature begins to reveal itself. You feel the sunlight filtering through the leaves, the wind moving the flowers. The great master painters also start to speak to me in my mind: Monet invites me to look through the branches, Pissarro asks me to wait for characters to appear, Cézanne advises me to climb up to see the panoramic view of the landscape… Their paintings pass through my head. It’s at that moment that I raise my camera. And I often have pleasant surprises.