Chen Man is the first truly original Chinese fashion photographer. She has a superb talent, as bright as a sun shedding its rays in all directions, and while Chinese people continue to imitate and use foreign fashion trends, she advances with huge steps minding only her own path, going further, flying higher.

Her works are sometimes magnificent and elegant, sometimes wanton and teasing, sometimes up in the sky or down on the world, transmitting an overbearing beauty. And just when we want to restrict Chen Man in this kind of vocabulary, Yang Dawei appears, just like that, broadening our outlook, changing everything.

The photography of Dawei has deep emotions, it is as quiet as water, it is like being in a bustling city, a state of mind indifferent to fame or gain like grass breathing freely in the wilderness, it is everything… And has nothing to do with age.

We can track to the year 2005 for the earliest impressions of this series on landscape photography that have gone through Beijing, Shenzhen, Qinghai, Paris, Tokyo, Iceland: desert, glacier, rubbish heap, electric poles or urban roofs, Yang Dawei uses the most uninteresting landscapes to open another window into Chen Man’s soul depths. This time Chen Man painstakingly makes people ignore the camera lens, and in Dawei’s words, so comes the disposition for a completely different series of works: “Cotton”.