Peng Ke: Leaving Speed

Peng Ke primarily uses analog photography to create images particular to experiences in rapidly developing cities across China. She depicts private situations and public environments - focusing on formal quirks and intuitive patterns of behaviors influenced by the diverse material and media that surrounds us. Her practice moves beyond the genre of ‘straight photography’, drawing attention to the feeling of living in a city unmoored by dramatic changes, but also looking to unexpected languages that happen when different realities coalesce together to create a new logic within the frame. Peng also looks to precocious moments, where the complexity of this world can be found translated into a child-like economy of visual languages, shapes, colors and signs.

Ke Peng (b. 1992 in Changsha, Hunan) works with images and writes, while living between Los Angeles and Shanghai. Graduated from Rhode Island School of Design with a BFA in Photography, she received Magnum Foundation and ChinaFile's Abigail Cohen fellowship in 2017. Peng also published her first book "Salt Ponds" (Jiazazhi Press, 2018) and was given the New Talent Award in 2018. Her recent exhibitions include, solo/two-person exhibitions: The Secured (Salt Projects, Beijing, 2018), Underneath the Tree Where I Buried All My Childhood Pets (Gallery 50, Toronto, 2017), Leaky Logic and a Fugitive Fish (Red Eye Gallery, Providence, 2015) and group exhibitions: Curtain (The 3rd Beijing Photography Biennial, Beizhen, 2018), The 10th Organ Vida Festival (Museum of Contemporary Art, Zagreb, Zagreb, Croatia, 2018), Love 2018: Purple Hearts (LeRoy Neiman Gallery at Columbia University, NYC, 2018), Summer Open (Aperture Foundation, NYC, 2017), close, but not touching (Biggercode Gallery, NYC, 2017), Context (Filter Photo, Chicago, 2016), Out of the Frame (Gallery Kayafas, Boston, 2015), etc. Peng received fellowships and was an artist-in-residence at Center of Photography at Woodstock, ACRE and The Lighthouse Works. She is interested in human experience among everchanging cities, and how children seek to establish themselves in perpetual movements. She believes in the active states of looking, self-reflection, and psychological effects activated by the medium of photography.