VOL.4
Reimagining Home Through the Lens: Ma Hailun
Photographer Ma Hailun was born in Urumqi, Xinjiang. Her experience studying fashion photography in New York gradually clarified her own sense of identity, spurring her return to create work in her homeland. In her exploratory personal projects, she has developed a deep interest in and observation of youth culture in Xinjiang.
In this episode of So GROTTO, we join photographer Ma Hailun on a journey through Kashgar, Xinjiang. Following her creative process, we explore with her the path of photographic creation and the search for identity.
As a '90s child who long yearned to leave her hometown, Ma Hailun experienced the allure and sophistication of fashion's dreamworld in New York, only to realize its narratives were not her own. Turning to photography, she returned to her roots in Xinjiang, grappling with the tension between her sense of belonging and fashion's definition of "sophistication" - and contemplating what stories her lens should tell.
Through her unique visual language, she is challenging stereotypes about Xinjiang, building bridges between ethnic elements and fashion, and persistently forging her own narrative.
Throughout this journey, GROTTO and Ma Hailun have witnessed firsthand how she shows the world her truth - through her passion for photography, she unlocks a "framed" world, reveals the strength in others, and in doing so, remakes her own.
Q&A
Q1. What drew you back to your hometown to photograph after your studies?
As someone deeply rooted in Xinjiang, every part of my identity is woven into the fabric of this land. Xinjiang is a place of striking diversity - in many ways, as culturally rich and blended as major international cities. Different cultures and ethnicities converge here, merging into a distinct local character that now flows through my veins.
Q2. Was there a particular moment or reason that sparked your decision to return to Xinjiang for this series of creative work?
Since childhood, I was taught: you need to leave this place, go out into the world, and see something bigger. And reality seemed to confirm that. As an art-loving '90s kid, everything I was passionate about seemed to be "out there" - at least, that's what I used to believe. While studying in New York, I switched from Fine Art photography to fashion photography. I loved the dream-building quality of fashion; it allowed me to fully immerse myself in my own little world, to express my aesthetics and the visual elements I adored. But internally, I felt a deep conflict. Because all of this, however beautiful, dreamlike, and sophisticated it seemed, felt so distant for a kid born in Urumqi. It wasn't my narrative; it wasn't my story. That was the first time I developed a new awareness of my own identity. I began to think deeply about where I came from, and what stories, as a photographer, my lens ought to tell.
Q3. Where did your earliest understanding of fashion begin?
My earliest understanding of fashion came from the Uyghur aunts and sisters I saw on the streets as a child - those vibrantly colored headscarves in dazzling combinations, those intricate gold bracelets and earrings glinting bling-bling under the sun.
When I left Xinjiang and returned eight years later, everything felt both familiar and foreign. I was like a tourist in my own homeland, fascinated by the novelty of my surroundings while quietly comparing it all with my memories. With each comparison between the familiar and the unfamiliar, the emotional connection grew stronger. My goal was no longer just about visual representation, but about delving into deeper emotional exploration and expression - about my own identity, and my bond with my hometown.
Q4. What does your process typically look like when preparing for a personal project?
The process really varies with each project, depending on the theme.
Much of my past work - like the Hometown series, "Ili Cowboys," and "Kazakh Bride" - was shot in the style of a road trip. I'd have a rough destination in mind and specific images I wanted to capture. Then I'd rent a car, take my camera, and start driving toward that destination, searching along the way. Naturally, during the journey, we'd come across the right subjects. In many ways, this process resembles piecing together a puzzle.
I have countless ideas I want to shoot, all stored in my "inspiration bank." Often, an image already exists in my mind - sourced from a memory, a specific community, or a particular place. My task is simply to assemble these elements together.
Q5. What creative inspiration has Kashgar brought you during this shoot?
Kashgar is a magical place, especially within the ancient city. It feels as if so much of my childhood memories are preserved here - from the shoe shiners on the street corners to the kids playing football in the square. I'm particularly drawn to the traditional residential architecture and structures preserved in the old town, along with its distinct color palette. It's like walking into a photograph where the backdrop and tones have already been perfectly set.
Q6. How did you conceptualize the creative work for this Kashgar journey?
The ancient city of Kashgar possesses a unique history and architectural style, which serve not merely as visual backdrops for photographs, but as integral parts of the narrative. I envisioned locations with strong regional character - narrow alleys marked by traditional craftsmanship, old courtyards, and rooftop terraces. Young people and youth culture have always been a continuous focus in my work; they also represent the energy of the future.
By casting local youth and blending ethnic elements with fashion, we transcend geographical boundaries. This approach both honors cultural roots and presents a renewed narrative of Kashgar - one where the ancient city is vividly alive, bridging past and future.
“Born to imagine, born to act.
Defy definitions, embrace instinct.”