The decades since China's Great Proletarian Cultural revolution (1966-1976) have witnessed a tide of artists leaving China, and now returning, propelled in part by the desire to locate a healthy climate for art production. There was a time when western society provided a climate more conducive to creativity and these artists sought better living conditions and freedom of thought and expression. Now many of these artists fight a battle over the encroaching forces of materialism and globalisation and there is an increasing backflow of these artists returning to China in the light of new policies valuing creative output and generally higher living standards.
'To imagine a language is to imagine a form of life' - Ludwig Wittgenstein. So to it is that to read the works of contemporary Chinese photography is to read Chinese social life. During the middle of the 1990's photography was admitted to the canon of contemporary Chinese art and the Chinese economy started to reflect a 'glocal' trend through the merging with the global economy. As a result Chinese artists began experimenting with new media and dialogue between Chinese and international artists became more frequent. This article looks at the diversity and proliferation of contemporary Chinese photography and the shifting perceptions of Chinese society from an international perspective.