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The Encyclopedia of the Art of Photography

    Experimental Relationship

    • Pixy Liao (1979)

    Gender and power roles within a heterosexual partnership, questioned through staged photographic performances.

    Description

    Experimental Relationship by Pixy Liao begun in 2007 in Memphis, Tennessee, and continued in Brooklyn, Japan, Sweden, and elsewhere, staging Liao's intimate and creative partnership with Takahiro "Moro" Morooka. The couple met as international students in 2006, when Liao began photographing the younger Japanese-born musician for University of Memphis assignments. Classmates' unease at scenes treating him as a prop helped her recognize the relationship itself as her subject.


    The project examines alternative possibilities for heterosexual partnership, challenging Liao's expectation that an older man should act as protector and mentor. Its exchanges of conventional sexual and power roles ask how gender, age, Chinese-Japanese cultural difference, and social pressure shape intimacy. Rather than presenting female domination as an endpoint, Liao investigates the woman she wants to become and the "new equilibrium" a couple might construct. As the relationship matures, the series also addresses consent, collaboration, time, and growing older together.


    Predominantly saturated color photographs place the pair in arranged domestic interiors, public spaces, and travel settings. Liao often appears clothed while Moro is nude, positioned above him or looking down; elsewhere, cross-dressing, food, beds, touch, and exchanged bodily substances complicate fixed roles. Full-body tableaux and tighter framings create moods that move among play, tenderness, erotic tension, and unease.


    Liao uses a Zenza Bronica ETR medium-format camera acquired in graduate school. She plans locations, clothing, and poses in notebooks, while leaving Moro room to improvise gestures and expressions during shoots that usually last 30 to 60 minutes. The visible cable release signals how the image was made: although Liao directs and composes each situation, either partner may trigger the shutter. This shared mechanism mirrors Moro's gradual shift from model to collaborator.


    The 2018 photobook received an Aperture/Paris Photo First Photobook Award jury special mention, while the series earned the 2018 Jimei × Arles-Madame Figaro Women Photographers Award. Later presentations included Rencontres d'Arles in 2019; Fotografiska New York, Stockholm, and Tallinn in 2021-22; and the Art Institute of Chicago in 2025.

    Behind the work

    Liao first approached Moro at a University of Memphis art event in 2006, introduced herself as a photographer, and later invented assignments so she could ask him to model again.

    While making It’s Never Been Easy to Carry You, Moro’s weight repeatedly pushed Liao out of her intended position. She initially thought the composition had failed, then recognized the displacement as a metaphor for their life together.

    Liao sketches or writes image ideas in a notebook but does not show it to Moro; she internalizes the setup, gives him simple directions, and lets his expressions and gestures alter the result.

    Quotes by the photographer

    "I started to experiment with this relationship. I would set up all kinds of situations for Moro and I to perform in the photos. My photos explore the alternative possibilities of heterosexual relationships. They question what is the norm of heterosexual relationships. What will happen if man & woman exchange their roles of sex & roles of power."

    "Moro made me realize that heterosexual relationships do not need to be standardized. The purpose of this experiment is to break the inherent relationship model and reach a new equilibrium."

    "As a woman brought up in China, I used to think I could only love someone who is older and more mature than me, who can be my protector and mentor. Then I met my current boyfriend, Moro. Since he is 5 years younger than me, I felt that whole concept of relationships changed, all the way around. I became the person who has more authority & power."

    "In this project, each photo is an experiment itself. I designed the experiments and perform it in front of the camera with Moro. I’ll decide what we dress, how we pose, where to look, etc., but subtle things like how the facial expression is and how we actually interact with each other in the photo always happen spontaneously. This is the ‘documentary’ part of my project."

    "The photos do not show us in our daily life. It is more about my thoughts or desires in a relationship. We consider ourselves performers in front of the camera."

    Tags and context
    genre
    Staged ,Conceptual ,Self-Portrait ,Portrait
    theme
    Gender Identity ,Intimacy ,Sexuality ,Love ,Femininity ,Masculinity , Social Critique ,Cultural Identity ,Identity ,Human Connection ,Personal Space
    technique
    Medium-Format ,Directorial Mode ,Narrative Staging ,Photo-Performance ,Collaborative Portraiture ,Props ,Vivid Colors ,Color Film ,Participatory Photography ,Environmental Framing ,Natural Light ,Chromogenic Print
    influence
    Conceptual Art ,Performance Art ,Feminist Art ,Deadpan Aesthetic
    period
    2000s ,2010s ,2020s
    location
    Japan ,Sweden ,United States

    Suggest an Edit

    Experimental Relationship

    • Pixy Liao (1979)

    Gender and power roles within a heterosexual partnership, questioned through staged photographic performances.

    Description

    Experimental Relationship by Pixy Liao begun in 2007 in Memphis, Tennessee, and continued in Brooklyn, Japan, Sweden, and elsewhere, staging Liao's intimate and creative partnership with Takahiro "Moro" Morooka. The couple met as international students in 2006, when Liao began photographing the younger Japanese-born musician for University of Memphis assignments. Classmates' unease at scenes treating him as a prop helped her recognize the relationship itself as her subject.


    The project examines alternative possibilities for heterosexual partnership, challenging Liao's expectation that an older man should act as protector and mentor. Its exchanges of conventional sexual and power roles ask how gender, age, Chinese-Japanese cultural difference, and social pressure shape intimacy. Rather than presenting female domination as an endpoint, Liao investigates the woman she wants to become and the "new equilibrium" a couple might construct. As the relationship matures, the series also addresses consent, collaboration, time, and growing older together.


    Predominantly saturated color photographs place the pair in arranged domestic interiors, public spaces, and travel settings. Liao often appears clothed while Moro is nude, positioned above him or looking down; elsewhere, cross-dressing, food, beds, touch, and exchanged bodily substances complicate fixed roles. Full-body tableaux and tighter framings create moods that move among play, tenderness, erotic tension, and unease.


    Liao uses a Zenza Bronica ETR medium-format camera acquired in graduate school. She plans locations, clothing, and poses in notebooks, while leaving Moro room to improvise gestures and expressions during shoots that usually last 30 to 60 minutes. The visible cable release signals how the image was made: although Liao directs and composes each situation, either partner may trigger the shutter. This shared mechanism mirrors Moro's gradual shift from model to collaborator.


    The 2018 photobook received an Aperture/Paris Photo First Photobook Award jury special mention, while the series earned the 2018 Jimei × Arles-Madame Figaro Women Photographers Award. Later presentations included Rencontres d'Arles in 2019; Fotografiska New York, Stockholm, and Tallinn in 2021-22; and the Art Institute of Chicago in 2025.

    Behind the work

    Liao first approached Moro at a University of Memphis art event in 2006, introduced herself as a photographer, and later invented assignments so she could ask him to model again.

    While making It’s Never Been Easy to Carry You, Moro’s weight repeatedly pushed Liao out of her intended position. She initially thought the composition had failed, then recognized the displacement as a metaphor for their life together.

    Liao sketches or writes image ideas in a notebook but does not show it to Moro; she internalizes the setup, gives him simple directions, and lets his expressions and gestures alter the result.

    Quotes by the photographer

    "I started to experiment with this relationship. I would set up all kinds of situations for Moro and I to perform in the photos. My photos explore the alternative possibilities of heterosexual relationships. They question what is the norm of heterosexual relationships. What will happen if man & woman exchange their roles of sex & roles of power."

    "Moro made me realize that heterosexual relationships do not need to be standardized. The purpose of this experiment is to break the inherent relationship model and reach a new equilibrium."

    "As a woman brought up in China, I used to think I could only love someone who is older and more mature than me, who can be my protector and mentor. Then I met my current boyfriend, Moro. Since he is 5 years younger than me, I felt that whole concept of relationships changed, all the way around. I became the person who has more authority & power."

    "In this project, each photo is an experiment itself. I designed the experiments and perform it in front of the camera with Moro. I’ll decide what we dress, how we pose, where to look, etc., but subtle things like how the facial expression is and how we actually interact with each other in the photo always happen spontaneously. This is the ‘documentary’ part of my project."

    "The photos do not show us in our daily life. It is more about my thoughts or desires in a relationship. We consider ourselves performers in front of the camera."

    Tags and context
    genre
    Staged ,Conceptual ,Self-Portrait ,Portrait
    theme
    Gender Identity ,Intimacy ,Sexuality ,Love ,Femininity ,Masculinity , Social Critique ,Cultural Identity ,Identity ,Human Connection ,Personal Space
    technique
    Medium-Format ,Directorial Mode ,Narrative Staging ,Photo-Performance ,Collaborative Portraiture ,Props ,Vivid Colors ,Color Film ,Participatory Photography ,Environmental Framing ,Natural Light ,Chromogenic Print
    influence
    Conceptual Art ,Performance Art ,Feminist Art ,Deadpan Aesthetic
    period
    2000s ,2010s ,2020s
    location
    Japan ,Sweden ,United States

    Suggest an Edit

    Relationships work best when each partner knows their proper place, 2008
    How to Build a Relationship with Layered Meanings, 2008
    Start Off Your Day with a Good Breakfast Together, 2009
    Homemade Sushi, 2010
    It's Never Been Easy to Carry You, 2013
    Things We Talk About, 2013
    Photographer and Her Muse I, 2014
    Hang in There, 2015
    Carry the Weight of You, 2017
    The woman who clicks the shutter, 2018
    Bed Wrestling 3210 (Octopus Stretch), 2019
    The Man Hiding in My Dress, 2021
    Time to Wake Up, 2022
    Worship in Water, 2022
    The Secret to Love Channel Your Inner Nude  Stay Fully Dressed, 2025

    Books

    upscaled cover image undefined
    Experimental Relationship
    • Jiazazhi Press, 2018
    ER
    Pimo Dictionary
    • Jiazazhi Press, 2018

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