“My regret is that I didn’t keep a record of our lovemaking”. A traveler who had just lost the love of his life, told me haltingly in a French accent how he still yearns for her. He liked photography and was obsessed with collecting every important moment in his life, yet only after his partner had passed did he discover that their most intimate relations had been left blank. Back then, I realized that sex would be more than sensual pleasure or tools for reproduction. It could be a carrier of stories of life in different stages.
“Sex”, where in one’s memories is it located?
In fact, our relationship consisted of just that one conversation deep into the night. I forgot to keep his contact information, yet this phrase stayed with me. We get photographers to document our lives' greatest moments: graduations, weddings, births, funerals. Why not sex?
Because of this, I began my intimate portrait project—not portraits of people, but instead seeking to capture the various postures of “sex”: satisfaction, flirtation, emptiness, loneliness, remorse, longing, and tranquility…. Before each photoshoot, we would first share our unforgettable sexual encounters or stories, with the person being photographed deciding which memories to disclose, and how it was to be recorded. More recently, beyond “documentation”, there is also the “creation” of sexual experience.
If bodies are media for stories, then sex is sharing those stories with each other.
ABOUT SEX STORY
1. There are no restrictions on sex, gender, sexual orientation, appearance, fetish, age, etc.
2. You decide whether to make it private or public. 3. The photographer does not give instructions for posing but listens to the desires of the interviewee via visual audio production.
4. The content is not confined to popular aesthetics, market demands, and moral codes.
Motivated by my experience of staying in Paris and Georges Bataille’s thought, I attempt to loosen the common stereotypes of “sex photos.” Walking out of the art bubble, I perform a larger-scale social intervention and record the good and bad desires classified by Gayle S. Rubin. “Sex photography project” does not avoid the possibility of being stigmatized. Rather, he hopes that it can open up opportunities for the audience and interviewee to rethink the sex stigmata.
This program is not limited to sexual orientation, gender, or body, and includes all kinds of desires: vanilla sex, foot fetishes, rope bondage, human urinals, BDSM, wild nudes, fetish… I photograph all these desires, good and bad, as taxonimized by Gayle S. Rubin’s sexual class system, as if it were a scale of highs and lows, forming a movement of desire. However, these notes are not fixed, and different desires may switch classes depending on temporal and spatial backgrounds, becoming an ever-changing organic process.
The truth might not be perfect but sexier.
受到自身在巴黎的故事與喬治·巴代伊（Georges Bataille）思想的啟發。我試著鬆動「性照」之於大眾的刻板意義，並走出藝術圈以實踐更大規模的社會介入，紀錄那些遊走在蓋兒·魯賓（Gayle S. Rubin）性等級制度中好與壞的慾望。「性愛攝影計畫」透過大眾參與私密攝影與公眾討論，去回應性污名化跟權力關係。
這計劃不限性向、性別、身體，包含各種慾望形狀：香草性愛、看不見的慾望（盲友）、戀足、繩縛、人形小便斗、BDSM、野裸、戀物…。我拍攝在Gayle S. Rubin的性階級制度中好與壞的慾望，好像是高高低低的音階，共譜成一首關於慾望的樂章。然而這些音符並不固定，不同慾望會在不同時空背景下切換階級，成為一個不斷變動的有機狀態。