He Fa does not cross media.He lets one question keep changing form.

Artist statement

My work often begins with a site and a set of lived relations rather than a predetermined image. I am interested in how looking allocates positions: who owns the camera, who occupies the center, who is required to explain, who may remain silent, and who carries the failure of an action.

Photography first taught me that an image does not passively preserve reality; it reorganizes it. Mountain Beyond Mountains breaks landscape into many partial viewpoints. GEWU and Twelve Water Lamps then move texture, folding and visual order into manufacturable objects. The image becomes structure; structure becomes space.

Since 2015 I have advanced this practice through P4 Theatre. P4 is neither a fixed theatre building nor simply a production label. It is a long-term social-artistic system. In abandoned factories, offices, boxing gyms, bookstores and private rooms, open calls, workshops, performance, writing, recording and shared life create conditions in which real relations can become visible.

Projects including Iceberg, Howler on the Rooftop and Love Theatre do not use people merely to complete a plot. They first construct pressure, distance, rules of looking and action, then allow participants to expose their positions within them. Human Surrender Faction cinematicizes this long-term relational system: it comes from life but is altered by the camera; it is directed while repeatedly revealing the failure of directorial power.

Recently I have continued to break cinema into sound libraries, Logic sessions, explanatory shorts, frame-level analysis, prompts and generated moving images. Post-cinema, for me, does not mean leaving reality. It means allowing lived experience to pass through further media while retaining complexity. Film becomes not only a completed file, but a matrix for further sound, text, research and images.