‘The Seven Deadly Sins’ by Pieter Bruegel the Elder, 1558 | Bonhams
BY ALBERT CHEN
Amid continued strong demand for Surrealist art, Bonhams achieved ‘white glove’ results—100% of lots sold—for Surrealist Treasures | The Urban S. Hirsch III Collection. The highly anticipated auction, which concluded on January 17 in Los Angeles, garnered an astonishing $778,000 in total sales, with numerous lots exceeding pre-sale estimates and setting new records.
The collection, a meticulously curated selection of over 120 Surrealist and Old Master prints and unique works, was assembled by the late Urban S. Hirsch III (1941–2024), a renowned businessman and philanthropist. Hirsch’s discerning eye and passion for graphic works were on full display, attracting intense bidding from collectors across the globe.
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The undeniable centerpiece of the auction was The Seven Deadly Sins (1558) by Flemish Renaissance master Pieter Bruegel the Elder. This intricate set of prints sold for $89,400—more than four times its estimate—achieving a record price for the edition. The success of Bruegel’s work was matched by another of his creations, The Seven Virtues (c. 1559-60), which fetched $33,280.
‘The Seven Deadly Sins’ by Pieter Bruegel the Elder, 1558 | Bonhams
Among the Surrealist highlights, Leonora Carrington’s enigmatic Tuesday (1987) stunned the auction world, selling for $76,700—38 times its estimate and achieving a record for the edition. Similarly, Dorothea Tanning’s evocative Birthday (Self Portrait at Age 30) (c. 1970) fetched $20,500, more than six times its estimate and a new high for the edition.
‘Tuesday’ by Leonora Carrington, 1987 | Bonhams
Additional standout sales included Belvedere (1958), a lithograph by the legendary M.C. Escher, which achieved $51,200—double its pre-sale estimate. Pedro Friedeberg’s whimsical Eight Hand and Foot Table (circa 1970) sold for $15,360. René Magritte’s surreal lithograph Les Bijoux Indiscrets (Kaplan 3) (1963) also fetched $15,360.
Morisa Rosenberg, Head of Prints & Multiples in Los Angeles, attributed the auction’s success to the exceptional curation of the collection. “We are thrilled with the success of this exceptional collection,” Rosenberg said. “Hirsch used his passion for graphic works and in-depth knowledge to thoughtfully curate an incredibly interesting selection of high-quality works which really excited collectors.”
‘Tuesday’ by Leonora Carrington, 1987 | Bonhams
The white glove achievement underscores the enduring appeal of Surrealist and Old Master works, while the record-breaking prices highlight the growing demand for rare and historically significant pieces. Urban S. Hirsch III’s legacy as a collector and connoisseur has now been cemented, his vision celebrated in a landmark event for the art market.
In the third part of our exclusive interview with New York photographer Evelyn Freja, we delve deeper into the intricacies of her craft and the philosophy that drives her work. Evelyn shares her thoughts on the competitive nature of the photography industry, the importance of business acumen, and the ethical considerations she takes into account when capturing her subjects.
She also discusses the collaborative process with her partner and the impact of digital technology and social media on modern photography. Join us as we explore the mind of a photographer who is not only passionate about her art but also dedicated to inspiring the next generation of creatives.
With so many photographers capturing stunning images worldwide, do you ever feel the pressure of competition?
Being competitive is often seen as a negative attribute but actually, it can be very inspiring and rewarding to see what everyone else is doing and how they’re doing it. With art and photography, most everything has already been “done”. That’s very freeing.
How do you ensure that your work stands out in such a saturated industry?
There is a certain kind of freedom that comes with accepting that we are one tiny, miniscule part of this world– that there are a thousand other photographers living and working in New York City, taking photographs alongside you.
How do you manage the business side of photography, such as marketing, client relations, and portfolio management?
You can be the best, most creative photographer out there, but if you can’t manage the business side of photography, it will be a very difficult, uphill battle. I have spreadsheets. Lots of spreadsheets. Ones dedicated to paying assistants and spreadsheets keeping track of invoices and spreadsheets relating to taxes. It’s the very unglamorous side to taking photos but it’s a big part of running a business and staying organized.
What ethical considerations do you take into account when photographing people, wildlife, or sensitive subjects?
On each shoot, before I take out my camera, I always chat with the subject first. No matter if it is a full day shoot or we only have ten minutes, I want to be sensitive to who they are, their background and where they are coming from.
Have you ever collaborated with other artists or photographers, and how did that experience influence your work?
I collaborate with my partner who is also a photographer. Some days, he’ll assist me on shoots, other days I’ll assist him. It’s a beautiful thing where you can watch your partner grow and thrive and support them– all while watching each other create photos!
Can you share any projects you’re currently working on?
The past few years, I’ve spent photographing a local women’s sports team in New York City. I’ve gotten to know the players, each one coming from different nations and backgrounds, and am excited to explore the role of changing culture and sport and women the rest of the year before hopefully finding this project a good home online or in print.
In your view, how has the field of photography evolved with the rise of digital technology and social media?
Digital technology and social media play a huge role in photography nowadays. When photography first was introduced to the world, it was an uncommon practice reserved for the wealthy upper class. Now, anyone can take photos. Technology and knowledge are at the tips of our fingers, it’s a really exciting time to be alive. I can be scrolling on social media and come across a photographer living in Argentina making portraits of her village there. It’s an amazing feat to be able to drop into different photographers’ lives and work from all across the corners of the world.
Who are your favorite photographers?
Naturally, I’m a huge fan of the classics: the Avedons of the world and the Shermans. But I’m also inspired by the photographers who are in my life: my friends and colleagues who are consistently pushing the boundaries of photography and art.
What do you hope people feel or think when they see your photographs?
Beautiful truths. I hope people see the subjects I’ve photographed in their raw form, whatever that may be.
What legacy do you hope to leave in the world of photography?
I hope to inspire and uplift the next generation of photographers, and the next, and the next. Who knows, though? There’s a big wide world out there with an endless supply of amazing photographers and artists.
Paul Delvaux’s enigmatic nude masterpiece L’Orage (The Storm), painted in August 1962, recently captivated the art world at Bonhams auction in London, achieving $1.6 million (£1,318,900). A hallmark of Delvaux’s surrealist vision, the painting was the top lot of Bonhams’ 20th/21st Century Art Evening Sale, part of their successful 20th/21st Century Art Week, which totaled $11 million in sales.
The Allure of L’Orage
L’Orage reflects Delvaux’s fascination with mystery, human vulnerability, and the subconscious. The painting features a solitary nude woman on the right, holding a red fabric cover as she delicately smells a small red flower. In the background, two nude women embrace under a white blanket, separated from the foreground by a barbed-wire fence. A cottage-like house hosts yet another topless woman, and the entire tableau is set against the backdrop of an ominous thunderstorm, with dark clouds casting a surreal and dramatic effect over the scene.
The painting encapsulates Delvaux’s signature tension between tranquility and unease, highlighting his mastery of juxtaposition: serene figures amidst dramatic, otherworldly settings.
Why Delvaux Focused on Nudes
Delvaux’s focus on nudes was deeply rooted in his artistic and personal history. Initially trained in architecture, he found inspiration in the classical world and the idealized human form. However, his use of nudes diverged from traditional portrayals, creating figures that appear detached, introspective, and often enigmatic.
Psychologically, Delvaux’s obsession with nudes has been linked to early experiences. In interviews, he described his childhood fascination with anatomy and the human body, stemming partly from strict maternal influences that created a sense of repression. His artistic exploration of nudes was an act of liberation, transforming them into timeless, almost mythical beings in surreal landscapes.
Delvaux was also profoundly influenced by 19th-century academic painting, as well as Symbolist poets and artists who sought to evoke inner emotions rather than replicate reality. Female figures became central to his work, embodying mystery, beauty, and the intangible nature of dreams.
Delvaux’s Legacy
Paul Delvaux (1897–1994) remains a pivotal figure in 20th-century art, celebrated for his ability to blend classical technique with surrealist imagination. His fascination with timeless themes—desire, mortality, and the passage of time—finds full expression in L’Orage.
By combining the human form with dreamlike settings, Delvaux invites viewers into a meditative, otherworldly realm. The sale of L’Orage reaffirms his enduring appeal among collectors and solidifies his place as one of the most intriguing voices in surrealism.
A masterpiece by the celebrated 19th-century Italian painter Francesco Hayez has shattered expectations at Christie’s Old Masters Evening Sale in London, setting a new world auction record for the artist. Bathsheba, an evocative oil painting dating back to 1827, sold for an astonishing £1,492,000 ($1,893,348 / €1,799,352), nearly doubling its pre-sale estimate of £600,000–£800,000.
This extraordinary result was part of a highly successful auction that realized a total of £13,990,200 ($17,753,564 / €16,872,181), marking one of Christie’s most lucrative Old Masters sales to date. The sale boasted a 98% sell-through rate by value, the highest ever achieved for Christie’s London in this category. Maja Markovic, Head of Old Masters Evening Sale, expressed her excitement: “This auction far exceeded expectations, with strong interest from institutions, private collectors, and trade clients alike. It’s a testament to the enduring appeal of rarity, provenance, and artistic innovation across centuries.”
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A Rediscovered Masterpiece with Royal Provenance
Bathsheba is hailed not only for its technical brilliance but also for its storied provenance. The painting was first acquired directly from Hayez by King William I of Württemberg at the 1827 exhibition at Milan’s Brera Academy. According to Hayez’s memoirs, the king, captivated by the painting’s beauty and mastery, paid the artist’s full asking price on the spot.
After passing through royal collections and private hands over the centuries, the work resurfaced in 1998, when its rediscovery was lauded by renowned Hayez scholar Fernando Mazzocca as “one of the most sensational rediscoveries in the history of 19th-century Italian art.”
This sale reaffirms Bathsheba’s status as a cornerstone of Hayez’s early career. As the first of three paintings the artist created on this biblical subject, it showcases his innovative approach to the female nude. Combining Renaissance-inspired naturalism with Neoclassical ideals of beauty, Hayez imbued Bathsheba with sensuality and psychological depth, elevating the subject far beyond mere narrative.
The Allure of Bathsheba
The painting captures the pivotal moment in the biblical tale when King David, visible in the background, first gazes upon the bathing Bathsheba. Yet, the narrative takes a backseat to the painting’s stunning artistry. Rendered in luminous tones, Bathsheba’s pale skin contrasts dramatically with the dark background, drawing attention to the graceful curves of her body. Her intelligent, alert gaze meets the viewer’s, creating a sense of immediacy and intimacy. The golden bangle that slightly tightens around her upper arm adds a subtle, tactile realism, underscoring Hayez’s commitment to naturalistic detail.
In his memoirs, Hayez described Bathsheba as an experimental work, painted not on commission but as an exercise in large-scale nude composition. It was also an opportunity for the artist to merge influences from Old Masters like Titian and Giulio Romano with the ideals of his time. While the biblical theme provided a moral justification for public display, the painting was, above all, a groundbreaking exploration of sensuality and naturalism.
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A Historic Night for Christie’s
The sale of Bathsheba capped an evening that also featured other extraordinary works, including Anthony van Dyck’s Two-Sided Andalusian Horse and a Wooded Landscape. The results reinforce the enduring appeal of Old Masters in the modern market, especially when combined with impeccable provenance and fresh-to-market appeal.
As Classic Week at Christie’s continues, collectors and institutions alike remain captivated by the timeless allure of works like Hayez’s Bathsheba—masterpieces that transcend their centuries to speak to the universal themes of beauty, power, and desire. For Christie’s, and for the art world at large, the sale of Bathsheba is not only a historic moment for Hayez’s legacy but also a reaffirmation of the enduring power of Old Masters to inspire awe, even in a modern era.
Woman Seated (Self-Portrait) by Jessica Dismorr | Bonhams
BY ALBERT CHEN
Jessica Dismorr (1885-1939), a pioneering figure in British modern art, has achieved a new auction world record at Bonhams recent Blazing a Trail: Modern British Women auction in London. The sale, which ran online from September 9 to 18, showcased the largest known private collection of works by Dismorr, with the centerpiece, Woman Seated (Self-Portrait), selling for £57,600 (approximately $73,000). The final price far surpassed its pre-sale estimate of £4,000–6,000 (approximately $5,000–$7,600), cementing Dismorr’s position as a significant figure in 20th-century art.
The works came from the Quentin Stevenson Collection, which spanned over two decades of Dismorr’s career and featured 19 pieces. The auction overall achieved a total of £924,660 (approximately $1,170,500), with 82% of lots sold. Notably, more than half of the works sold for amounts at or above their upper estimates, underscoring the strong demand for pieces by British female artists.
Ingram Reid, Head of Bonhams Modern British Art Sale, highlighted the success of the auction. “Over the past four years, our Blazing a Trail series has represented nearly 100 women artists, celebrating their incredible contributions to British art. This year’s sale exceeded expectations, with Jessica Dismorr’s Woman Seated (Self-Portrait) leading the way. Other artists, including Winifred Nicholson, Sophie Ryder, and Emily Young, also performed exceptionally well, reinforcing our position as the leading auction house in this category.”
The auction also featured other notable sales from artists such as Winifred Nicholson, whose Christmas Present fetched £55,200 (approximately $70,000), and Emily Young, whose sculpture Fertility Torso with Head sold for £48,000 (approximately $60,800). Sophie Ryder’s Dancing Hares achieved £40,800 (approximately $51,600), while Sheila Fell’s Village in Cumberland garnered £24,000 (approximately $30,400).
Woman Seated (Self-Portrait) by Jessica Dismorr | Bonhams
Jessica Dismorr (1885–1939) was a trailblazer in modern art, as one of only two women to join the Vorticist movement and the sole female member of Group X. Her work bridged movements, with exhibitions spanning the Allied Artists Association, the Seven and Five Society, and the London Group. This historic auction not only elevated her legacy but also reaffirmed the growing recognition of modern British women artists.
The surrealist art market is currently experiencing a notable period of growth, evidenced by strong auction results and heightened collector interest. Recent sales in New York, Paris, and London reflect a robust appetite for works from this historically significant movement. René Magritte’s L’empire des Lumières (1954) led the market in 2024, achieving $121.16 million at Christie’s New York—the highest price ever paid for a surrealist artwork. This sale underscores a broader trend of sustained demand for surrealist pieces, both from marquee names and historically underrepresented artists.
Across major sales, 85% of surrealist lots were sold, with a remarkable 95% success rate by value, signaling consistent interest and competition among collectors. Auction houses such as Christie’s, Sotheby’s, and Bonhams have reported strong performances, with many works exceeding their high estimates. These outcomes suggest a strategic pivot within the art market, as buyers increasingly view surrealism as both a culturally significant and financially rewarding segment.
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Key Auction Highlights
The sale of Magritte’s L’empire des Lumières was emblematic of the market’s strength. Renowned for its interplay between daylight and night, the painting attracted intense bidding, ultimately selling for $121.16 million and setting a new benchmark for the genre. This achievement was part of Christie’s sale of the Mica Ertegun collection, which realized consistently high results, including Magritte’s La cour d’amour at $10.53 million and La Mémoire at $3.68 million.
Sotheby’s Modern Evening Sale in New York reinforced this trend, achieving $11.3 million for Leonora Carrington’s La Grande Dame (1951)—a record for her sculptural work. This follows Carrington’s earlier 2024 milestone, with Les Distractions de Dagobert selling for $28.5 million in May. These results highlight increasing recognition of Carrington’s influence within surrealism and reflect a broader focus on women artists in the genre.
In Paris, Sotheby’s and Bonhams staged successful surrealist-themed auctions, with high sell-through rates and strong performances across a variety of artists. At Sotheby’s, Salvador Dalí’s Rose méditative (1958) realized €3.9 million, far exceeding its €1 million high estimate. Similarly, Jane Graverol’s La Frôleuse (1969) achieved €576,000, nearly doubling its estimate. Such results underscore a growing demand for both established and rediscovered names within surrealism.
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Drivers of Market Growth
The current strength of the surrealist art market can be attributed to several key factors shaping its trajectory. First, the centennial celebrations marking 100 years since surrealism’s inception have significantly amplified its visibility. Exhibitions such as the Centre Pompidou’s Surréalisme have not only drawn attention to major works but also reinvigorated interest in lesser-known artists, creating a ripple effect across the market. The increased scholarly and institutional focus has elevated the genre’s profile among both seasoned collectors and new entrants.
Additionally, the themes central to surrealism—ambiguity, duality, and dreamlike escapism—have found renewed resonance in contemporary culture. These concepts, as epitomized by works like Magritte’s L’empire des Lumières, reflect the tensions and uncertainties of modern life while offering an imaginative refuge. This cultural alignment enhances the appeal of surrealist art, making it both timeless and increasingly relevant to today’s audiences.
Efforts to promote inclusivity within the art world have also played a crucial role in the genre’s growth. A surge of interest in underrepresented figures, particularly women surrealists, has broadened the movement’s appeal and market dynamics. The record-breaking sales of works by Leonora Carrington and strong results for artists like Kay Sage and Jane Graverol exemplify this shift.
The inclusion of diverse narratives within surrealism has not only enriched its historical narrative but also driven competitive bidding and elevated prices for works previously overlooked by the mainstream market. This confluence of institutional focus, cultural relevance, and expanded representation has positioned surrealism as a vibrant and dynamic segment of the art market, attracting both collectors seeking prestige pieces and investors looking for value appreciation.
The sustained interest in surrealism represents a strategic opportunity for collectors. Auction results indicate that the market rewards both established masterpieces and emerging or rediscovered works, providing a range of entry points. High sell-through rates and frequent record-breaking sales suggest that surrealist art is not only culturally significant but also a stable and appreciating asset class.
As centennial celebrations conclude, the art market is likely to maintain its focus on surrealism, supported by its historical importance and enduring relevance. Collectors and investors would be well-advised to monitor the genre closely, as it continues to assert itself as a cornerstone of the modern and contemporary art markets.
La Zingara Felice (The Happy Gypsy) by Anna Teresa Laurita
By Jennifer McKay
Anna Teresa Laurita is an emerging figure in contemporary neo-expressionism, bringing a distinct perspective to a genre historically dominated by male artists, such as the legendary Jean-Michel Basquiat. Laurita’s art is marked by the use of vivid, contrasting colors and an approach that emphasizes emotional depth and personal experience. This focus allows her work to balance the expressive freedom characteristic of neo-expressionism with a unique infusion of femininity and introspection.
Laurita describes her creative process as one that starts with an oniric, almost dream-like quality, evolving into a more structured interplay of line and color. Her technique, while appearing simplistic at first glance, gradually reveals layers of complexity as she builds each composition. The result is work that feels both deliberate and spontaneous, illustrating a seamless transition from raw emotion to cohesive artistic expression.
The use of bright, contrasting colors is central to Laurita’s practice. These choices contribute to artworks that are visually engaging and convey a sense of energy. However, her compositions are not just about the impact of color; they are carefully constructed to evoke deeper reflection. The balance between bold modernity and thematic subtlety allows her pieces to appeal to contemporary audiences who seek art that engages both visually and intellectually.
Laurita herself notes that she often discovers new dimensions within her work once it is completed. This element of surprise becomes an integral part of her process, suggesting that the final piece evolves beyond its initial conception. For the viewer, this evolution translates into an artwork that invites interpretation, stimulating thought and imagination.
La Zingara Felice (The Happy Gypsy) by Anna Teresa Laurita
While her pieces are dynamic, they remain grounded in a form that conveys narrative. Each artwork exists as a standalone story, rich with potential meaning and open to individual interpretation. Laurita’s aim is not just to present her own perspective but to encourage viewers to engage with the work on their terms, making each piece an interactive experience in thought and emotion.
Anna Teresa Laurita’s contribution to neo-expressionism offers a perspective that merges personal reflection with broader artistic dialogue. Her works aspire to serve as a space for contemplation and emotional resonance, adding a nuanced voice to the contemporary art scene.
“I recently had a photoshoot of two famous actors in their hotel room, promoting a movie that recently came out. I was supposed to have 30 minutes with them, but they were incredibly rude to my photo assistant and me and ended up leaving after just 3 minutes. I had only managed to get a handful of photos and ended up crying in the hotel bathroom while my assistant helped pack up.”
In Part 2 of our exclusive interview with New York photographer Evelyn Freja, we delve deeper into her journey, exploring the experiences and philosophies that shape her artistic vision. Evelyn opens up about the challenges of working in a highly competitive industry, her approach to capturing genuine moments, and the surprising lessons she’s learned along the way.
From memorable photoshoots with high-profile clients to candid insights on navigating rejection, Evelyn shares what it takes to thrive as a full-time artist in one of the world’s most vibrant cities. Her passion, resilience, and authenticity shine through as she reflects on the creative process and the beauty of connecting with her subjects.
How do you continue to grow and develop as a photographer, even after achieving success?
I am surrounded by photographer friends who constantly lift me up and inspire me. I’m also really lucky because my partner of eleven years is a photographer (we met in photo school), and he is a constant source of inspiration and motivation both inside and outside of photography.
Of all the photos you’ve taken, which one is your favorite?
My favorite photographs come not so much from the final product as from the experience. I’ve had shoots where the final photographs weren’t the best, but the time spent with the subject was incredibly joyful. Those experiences translate through to the final photograph.
Can you describe a particularly memorable or challenging shoot and how you handled it?
I recently had a photoshoot of two famous actors in their hotel room, promoting a movie that recently came out. I was supposed to have 30 minutes with them, but they were incredibly rude to my photo assistant and me and ended up leaving after just 3 minutes. I had only managed to get a handful of photos and ended up crying in the hotel bathroom while my assistant helped pack up. It was disheartening, but at the same time, it was a valuable learning experience—not to take things personally or internalize unspoken criticism. At the end of the day, I am so grateful to be able to take photos for a living in New York City.
It takes less than a second to capture a photo, but how much time and effort go into preparing for the perfect shot?
I’ve spent weeks, sometimes months, leading up to shoots, meticulously planning every detail: from lighting to colors to mood to poses. I can obsess over the smallest details, but I’ve also learned that no matter how much planning goes into photoshoots, something will probably almost always go wrong. Photography is as much about planning the shot as it is about staying flexible with any issues that may arise.
What is your philosophy when it comes to capturing the essence of a moment or a subject?
It’s important that I never put too much of myself in my photos. I want the essence of the subject to shine through as the main focal point, but I also understand that having your photo taken isn’t always enjoyable. It’s all about making the subject feel comfortable and at ease while still letting them be the focus.
Is it expensive to pursue photography, and how long did it take you to achieve financial success in this field? What lessons did you learn along the way?
It’s easy to get overly focused on having brand-new equipment, fancy lenses, and expensive lights, but the reality is that photographers don’t need all that. I’ve taken some of my favorite photos on a cheap, beat-up second-hand camera. Photography can be an expensive industry, but when you’re starting out, it’s good to remember that you don’t need high-end equipment to create beautiful art.
Was it difficult to become a full-time photographer, and what risks, challenges, or setbacks have you faced in your career?
The hardest part of being a full-time artist is getting used to rejection and being ignored. It’s natural to want to throw in the towel and quit when you’ve reached out to forty or fifty art directors and editors and only two of them get back to you, but it’s a necessary part of the process. Just keep going, and tune out any negative internal dialogue.
Anastasia Egonyan is a contemporary photographer and artist from Ukraine with Armenian roots, currently based in Berlin. She actively participates in exhibitions across Germany, the Netherlands, the United Kingdom, and Switzerland. Her photographic language embodies the coexistence of two seemingly opposite approaches that, paradoxically, enhance each other.
As a photographer, Egonyan is drawn to two visual extremes: depersonalized, human-free views of large capitalist metropolises, and nude figures frozen in poignant, semiotically rich poses. The interplay between these contrasting visual strategies within a single artistic context beautifully illustrates the originality and professionalism of her creative vision.
Egonyan’s urban landscapes are infused with artificial life: streetlights and indoor lighting shine, neon signs glow, and public spaces and technical facilities function as intended. Yet, these spaces are devoid of human presence. The people who built these technological environments have seemingly vanished, leaving traces of their existence in posters and large formats. Where have they gone?
According to Egonyan’s aesthetic, they may have hidden away, fled forever, entered a parallel world, or become meta-observers. It does not matter whether the city is Paris, Berlin, or elsewhere; Egonyan finds a common thread among them: the dissonance between the scale of the city and its parts relative to the average human body. In the absence of human figures, these cities feel abandoned and desolate.
This subtle yet ironic recognition of fundamental human values in Egonyan’s work reflects our tendency to view the absence of people in familiar spaces as a tragedy, revealing our deep-rooted anthropocentrism. Here, Egonyan critiques not only this anthropocentrism but also the viewers’ unexamined assumptions about humanity’s place in urban landscapes.
Egonyan’s photographs of human figures stand in stark contrast to her cityscapes. Whereas her urban images depict an alien, somewhat theatrical setting, her work with nudes presents a scene of vulnerability within a carefully crafted, intimate environment.
Her artistic approach is ethical, aimed at avoiding the objectification of the body while retaining a fundamentally personal relationship with her models and a narrative integrity in the final image. In line with Egonyan’s intentions, these photographs avoid any false pathos or artificiality; they are created in natural, intimate spaces—often the photographer’s home or other organic interiors.
Egonyan’s approach combines deliberate composition with improvisation, emphasizing the dynamics and unpredictability of the process. The ultimate aim of her work is to challenge societal perceptions of objectified bodies, inviting viewers to engage with the personhood behind each figure.
On the global film stage, female directors’ voices are gaining prominence, yet few focus on the stories of Asian women. Yihui Hu stands out as an exceptional representative of this minority. As a Chinese-American director, Hu revisits themes of female identity and cultural recognition through a nuanced lens, exploring the intricate layers of cross-cultural emotions and psychology within the art of cinema. Rather than presenting Asian narratives from a traditional “other” perspective, her work redefines the experiences of Asian women within a globalized context, using subtle emotional depth and rich cultural insight.
Hu’s films express her personal life experiences while reflecting the broader experiences of Asian women. Transitioning from painting to film, she gradually discovered that film is not merely a storytelling tool but a medium capable of breaking cultural, gender, and societal stereotypes. Through her work, Hu strives to amplify overlooked voices, offering a resonant space for individuals grappling with self-identity in multicultural contexts. Her creations delve not only into artistic form but also into the cultural identity and self-perception of Asian women in society. Her films reveal a deep contemplation of the emotional, cultural, and identity-related challenges Asian women face, making her work a distinctive contribution to the global cinematic landscape.
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Hu’s passion for film began in childhood. Early on, she found a form of self-expression in painting, using brush and color to convey her imagination and emotions. However, after joining her school’s film club, she discovered that film—an art form that transcends boundaries of sight, sound, and time—allowed her to more comprehensively convey her stories and articulate the emotional and cultural issues that moved her. This marked a turning point, leading her from the two-dimensional canvas to the multidimensional storytelling possibilities of cinema.
During her college years, Hu moved to the U.S. to study Film and Television Production at the Savannah College of Art and Design (SCAD). This period exposed her to new cultures and artistic forms, allowing her to discover her artistic voice amid a blend of diverse influences. At SCAD, she participated in various creative projects, including short films and documentaries, each experience furthering her understanding of cinematic storytelling and her place within it.
Several of her early short films, such as The Monster, The Bus, and Falling for You, highlight her focus on personal experiences and cultural identity. While these films were experimental in her early career, they reflect themes that would become central to her later works: the inner world of Asian women, the search for identity, and the interplay of cultural conflict and fusion. These early films garnered recognition within the industry, reinforcing her understanding that cinema can be a powerful tool for exploring social issues beyond personal expression.
Hu’s graduation project, Beach House, marked a significant turning point in her filmmaking career. The film tells the story of a woman who inherits a seaside villa previously unknown to her and encounters a young girl there who bears a striking resemblance to her. Although the story appears simple, it is layered with metaphors and symbols about identity, memory, and self-discovery. The young girl symbolizes another facet of the protagonist, embodying both her past and her uncertainties about the future.
Yihui Hu, behind the scenes
Beach House is not only rich in narrative symbolism but also explores the psychological dilemmas faced by Asian women navigating different cultural contexts. Through layered visual and storytelling elements, the film addresses themes of identity with depth and subtlety. Beach House was selected and awarded at multiple international film festivals, including the Toronto Women’s International Film Festival, the Venice Film Festival Short Film Unit, and the New York Lift-Off Film Festival. Its global resonance stems not only from its depiction of an individual’s journey of self-discovery but also from its reflection on broader issues of cultural and gender identity through a personal lens.
During the creation of Beach House, Hu initially worried that the film’s personal focus might limit its relatability. Yet it was precisely this authentic expression that allowed her work to transcend cultural and geographic boundaries, creating a powerful emotional connection with diverse audiences. Through this project, Hu discovered her unique cinematic voice—a style that is both visually compelling and layered with emotional and cultural intricacies.
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As her creative experience expanded, Yihui Hu developed a distinctive voice in cinematic storytelling, focusing on the narratives of Asian women and examining the complexities of identity and cultural divergence through these stories. In her graduate studies, she continued exploring these themes in works like The Safe, Secret Garden, and He, which probe the psychological states of Asian women in multicultural environments and reflect cross-cultural emotions.
Her latest films delve into the emotional and cultural entanglements between an Asian-American girl and a Chinese boy, using their relationship to explore identity struggles and confusion. Through meticulously crafted visuals and dialogue, Hu conveys the tension between cultural conflict and inner emotion, creating a story that serves not only as a personal journey for the characters but also as a broader symbol of self-awareness and cultural identity reconstruction within the Asian context.
Secret Garden, a film by Yihui Hu
Yihui Hu is committed to breaking down cultural and gender barriers through film, bringing diverse stories to the forefront. While Asian culture has gained increasing visibility on the global film stage in recent years, Hu recognizes that significant cultural disparities persist, particularly in the underrepresentation of Asian women on screen. She hopes her work will bridge these cultural divides, allowing audiences to connect with the complex experiences of Asian women across different cultural contexts. As she states: “My goal is to let more people hear our voices, see our stories. Film is a powerful tool; it can not only entertain but also change the way people think.”
Looking ahead, Yihui Hu will continue to explore themes of Asian culture and female identity, advocating for greater diversity in the film industry. She aims to be a force for change, using film to elevate marginalized voices and offering viewers from varied cultural backgrounds the chance to see their own reflections on the big screen.
