How This Artist from Newyork Blends Fashion and Fine Art Photography

For this feature on the Women in Arts Network, we sit down with New York–based photographer Bingqin (Zaccheo) Zhang, whose practice spans fine art and fashion. In this conversation, she shares how she approaches the challenge of translating something as elusive as spiritual connection into photography, why materials matter just as much as images, and how her background growing up in China continues to shape her visual language.

Zaccheo talks about the moment she realised photographic materials could carry meaning on their own, the role of science and experimentation in her process, and what she learns by moving between the structured world of fashion and the slower pace of fine art. She also offers candid thoughts on the pressures and opportunities that come with new technologies like AI, and why not knowing the future of photography excites her most.

Through her stories, we gain insight into how cultural influences, curiosity, and experimentation can open new possibilities for a medium often considered fixed. This interview invites us to see photography not just as an image, but as an evolving dialogue between material, technology, and the world around us.

Bingqin (Zaccheo) Zhang is a NYC based artist. Her works focus on the spiritual connection with the external world and individuals and strive to rejuvenate the photographic medium in modern art. ​ This young artist’s exploration of photographic materials has opened up more possibilities for photography. She is convinced that the characteristics of photographic materials are the elements that make photography diversified and rejuvenated. At the same time, she believes that her creative, experimental methods have allowed photography to go back to the close relationship with science and reborn from it to a unique way of artistic expression.

1. Your work explores the spiritual connection between individuals and the world around them. How do you translate something so intangible into a visual form through photography?  

I establish a connection between myself and the extraordinary scenes in the real world, documenting any images that evoke strong emotions within me. Subsequently, I revisit these photographs and select the works that most authentically resonate with my inner feelings.

I often say that my practice has never truly escaped the red-brick house of my childhood.

Zaccheo Zhang

2. You’ve spoken about the importance of photographic materials and their role in shaping the medium. What was a turning point when you realised the material itself could be just as expressive as the image?  

Initially, I was greatly inspired by the works of Hiroshi Sugimoto, which prompted me to embark on a series of experiments. I was uncertain about the outcomes, as everything was unknown and unpredictable. However, when the images were finally developed, the results were astonishing. I believe my sense of awe at that moment was comparable to the serendipitous experience of Man Ray and Lee Miller, who, during the development process, accidentally exposed their photographs to light and thus discovered new creative possibilities. This experience led me to realise the expressive potential inherent in the materials themselves. The strange, wondrous, and unpredictable reactions that occur naturally are, in my view, even more compelling than the effects achieved through deliberate manipulation by the photographer.

3.  Science seems to play an essential role in your process. Can you share an example of how experimentation or scientific thinking has guided your recent work?  

Admittedly, my current work in commercial photography leaves limited room for experimentation, as this field places a greater emphasis on precision and certainty. However, within these constraints, I collaborate with designers and endeavour to persuade them to experiment with creative techniques alongside me. For example, I have employed long exposures and dynamic lighting to photograph garments, and have also broken with convention by juxtaposing fashion with entirely contrasting environments.

4. You’ve exhibited your work across continents — from China to the U.S., Europe, and the UAE. How have different cultures and settings influenced the way you approach photography?

As a photographer from the East, Chinese culture has had a profound impact on me. While most people may associate Chinese influence with emblematic traditional elements such as Peking Opera or Hanfu, my own experience is rooted in a different context. I grew up in the former Russian concession, in the Bagong House, which now serves as a street museum in China. My mother worked at a museum as well, and before the 21st century, I often accompanied her to observe various cultural relics closely. As a result, these architectural spaces and handcrafted artefacts have had a subtle yet enduring influence on me. I have a particular appreciation for handmade objects and have developed my own understanding of architecture and large-scale environments. This sensibility has shaped both the style of my creative work and the visual culture of my images. I often say that my artistic practice has never truly escaped the red-brick house of my childhood.

The strange, wondrous, and unpredictable reactions that occur naturally are, in my view, even more compelling than the effects achieved through deliberate manipulation by the photographer.

Zaccheo Zhang

5. You’ve pursued both fashion and fine art photography. How do these two worlds intersect in your work, and what do you find in one that you don’t in the other?  

I can only bring a playful mindset to fashion photography within certain limits, creating interesting work within the constraints of reality. What I appreciate most about fashion photography is the collaborative spirit that emerges when a team comes together to realise an ambitious project, as well as the sense of accomplishment that follows the successful completion of such work. However, the fast-paced nature of fashion often leaves me feeling disoriented. In contrast, fine art photography affords me more time to be alone with myself—to explore, to reflect, to make mistakes, and even to experience self-doubt.

6. As someone pushing the boundaries of photography, what excites you most about the future of the medium — especially in how it’s used in contemporary art?  

What excites me most is that I genuinely do not know what the future of photography will look like. I am aware that many photographers fear and criticise technological advancements, and I admit that since the rise of AI, the pressure on photographers has grown. The interests of many artists have been affected. However, it is precisely because of these challenges that society will continue to improve, and systems will become more robust. Photographers are required to learn new technologies to enhance their competitiveness constantly, and for me, this is an incredibly stimulating journey.

Zaccheo Zhang’s work reminds us that photography can be more than capturing a moment—it can be a way of exploring material, science, and cultural memory. Her images build a bridge between the inner and outer world, between what is seen and what is felt.

From her experiments with photographic processes to her movement between fashion and fine art, we learn that creativity often grows in the space between uncertainty and discovery. Her journey shows us that curiosity, persistence, and a willingness to step into the unknown are what keep photography alive in contemporary practice.

To learn more about Zaccheo, visit the links below.