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Drawing on her own experience of being labeled a "leftover" (someone remaining unmarried), Guo Yingguang chose the "matchmaking corner" in Shanghai¡Çs People¡Çs Park as both her subject and her stage. There, she assumed the role of a matchmaker, immersing herself among parents who displayed profiles in search of suitable marriage partners for their children. Her photographs document the scene: the handwritten profiles, the quiet maneuvering, and the unsettling stillness of a public ritual shaped by tradition and social expectations. Additionally, through the use of photo-etching, Guo visualizes—in abstract form—the underlying tensions, intergenerational pressures, narrow standards of conformity, and the emotional burdens borne by those caught within this structure. Through these two modes of visual expression, the work explores the quiet fragility inherent in conformity, marriage as an obligation, and the quest for acceptance.
¥Ç¥¶¥¤¥ó¡§1 and 1/2
¥³¥ó¥»¥×¥È¡§Zhen SHI
ËÝÌõ¡§Omar Isaac and Ran WEI
800Éôȯ¹Ô¡§Limited Edition of 800 copies
½ÐÈÇ¼Ò publisher¡§La Maison De Z
´©¹Ôǯ year¡§2018
¥Ú¡¼¥¸¿ô pages¡§
¥µ¥¤¥º size¡§H286¡ßW203mm
¥Õ¥©¡¼¥Þ¥Ã¥È format¡§¥Ï¡¼¥É¥«¥Ð¡¼/hardcover
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