PhotoVogue has awarded three special grants as part of its “East and South East Asian Panorama” regional open call. The recipients are Adam Han-Chun Lin from Taiwan, Keigo Wezel from Japan, and Narantsetseg Khuyagaa from Mongolia.
We spoke with Adam Han-Chun Lin, who received the Outstanding Vision Grant. This grant recognizes an artist whose work pushes creative boundaries and sets new artistic standards.
Adam Lin is a photographer and visual artist from Taiwan, now living in London. His work explores intimacy, masculinity, queerness, heritage, and cross-cultural identity through portraiture, fashion, and documentary photography. He earned an MFA from Central Saint Martins, and his work has been featured in WePresent, AnOther Magazine, and It’s Nice That.
Lin’s project, Sonder, examines masculinity within the home. By blending documentary and staged photography, he looks at how men experience intimacy and vulnerability in a space often linked with femininity. The home serves as both a symbolic place for private life and a universal setting, reflecting the sense of displacement many feel when living far from their homeland. Sonder questions what it means to exist between feminine and masculine ideals, how these categories can be reshaped, and what it’s like to navigate two cultures while discovering one’s true self.
Image descriptions:
– A bare male torso is reflected in a mirror covered with handwritten notes, hung by a ribbon on a switch. The writing partly obscures the reflection, adding layers of a personal touch.
– In a space that doubles as a home and hardware store, a father quietly watches his son study, capturing a tender moment of support.
– A young child sits beside his grandfather on a sofa, their hands resting gently together.
– A father rides a motorbike with his two sons, reenacting their daily routine of picking the boys up from school.
– Three male family members lift a large wooden chair inside their home, surrounded by everyday objects.
How did you first approach photography?
I grew up training in painting, which helped me develop an eye for color and composition. When I got my first DSLR at 16, I loved how immediate photography felt compared to painting.
I move freely between portraiture, fine art, fashion, and documentary work, always aiming to highlight and humanize personal stories. Human connection is at the heart of my work. I started photography out of curiosity about other people’s lives and a desire to express emotions.
The camera has a unique way of helping me visualize complex feelings that are hard to put into words. I love how photography can hold contradictions, raise questions, and convey emotions that are too big or subtle for language.
I enjoy starting a project with research, but I’ve learned that if I rely too much on theory, the images can lose their emotional impact. I always come back to the question: what can only be said through images? The answer lies in intuition and feeling. Trusting the medium often leads to the most rewarding results. This project helped me understand the kind of work I want to make and the importance of believing in my own vision.
Which stereotypical masculine codes or aesthetics did you aim to subvert in your project?
Growing up with brothers, male cousins, and male family members, I noticed the particular ways men relate to each other. As the only queer kid, I was always aware of the difference between how the men in my family showed affection and how I imaginedMy understanding of masculinity, and how I experienced it outside my family, often felt isolating. While I had reflected on and intellectualized these ideas, my family didn’t necessarily share the same experiences or vocabulary to discuss them. Decades later, that feeling of isolation gave me the drive to create this project.
Societal expectations often limit how men show intimacy with other men, especially as boys become teenagers. This is largely due to an ingrained “homophobic gaze.” Growing up with many close female friends, I noticed that girls didn’t face the same pressures. These constraints affect not only male friendships but also family relationships between fathers, sons, and brothers, shaping how men view vulnerability and emotional expression.
A boy stands in front of a bathroom and drawers at home in Taiwan, wearing a T-shirt that reads “Gryffindor.” Behind him, a calendar shows a photo of an unidentified European castle.
Traditionally, the home is seen as a feminine space, with women as caretakers. Throughout history, it’s easy to picture nurturing through women, but what about men? How is masculinity and intimacy between men expressed and negotiated in private? Masculinity is often linked to public arenas like workplaces, sports fields, and battlefields. By focusing on masculinity within domestic spaces, I wanted to challenge this divide and explore how men navigate these environments, as we revealed together in front of the camera.
The male form has always been a theme in my work and has fascinated artists throughout history. But in an oversaturated visual culture, I aim to go beyond simply showcasing the male body or queer eroticism. By incorporating elements of family, domestic life, and cultural heritage, I hope to offer a more nuanced perspective, because masculinity is intersectional and deeply influenced by one’s social, economic, and cultural background.
Ultimately, Sonder aims to challenge narrow definitions of masculinity by presenting a range of intimacy and tension, highlighting its fluidity. Redefining masculinity means breaking away from traditional associations with strength, aggression, and emotional detachment. Perhaps everything men do, feel, or become—whether tender or assertive—is inherently masculine as long as they identify as men.
Gym equipment, balloons, and boxing gloves are placed in the corner of a living room.
A boy jumps on a bed in his military costume.
What similarities and differences have you observed in how masculinity is understood in Taiwan and the UK?
My cross-cultural background was key to situating this project in two cities that are worlds apart geographically and culturally. Moving from Taiwan to London at 18, I spent my formative years navigating two different environments while questioning my own relationship with masculinity, home, and family. London has become my second home, a place I cherish, but it has always been without family. Taichung, where I grew up, sometimes feels distant and unfamiliar after years abroad. Sonder became my way of exploring these contradictions: the in-between sense of belonging and identity that I’ve lived with for the past seven years.
Having no family in London, I was drawn to visiting family homes there—spaces filled with history, heritage, and memory, unlike the transient rented apartments many international students like myself live in. Photographing families in both cities allowed me to see unexpected connections. At first, I thought of the London and Taiwan images as separate, but during editing, I noticed echoes between them: similar objects, gestures, and atmospheres that revealed intimacy and family as universal experiences.
A man sits in a softly decorated bedroom, with wedding photos and everyday items stacked behind him. This space, filled with traditionally feminine objects, is also where he lives his daily life.
It’s easy to…I started with the assumption that cultures differ from one another while being similar within themselves, but I discovered unexpected parallels instead. Some were visual, others emotional—like the mix of distance, tension, and unspoken comfort. Even within the same family, masculinity is expressed differently by each person, making it nearly impossible to define the exact differences between two cultures. With globalization and immigration, cultural aesthetics have become more fluid. You can find homes in London that feel somehow “Taiwanese,” and the reverse is also true. Since the project was shot entirely indoors, the lack of geographic clues raises questions: Where was this taken? What details hint at its cultural background?
This project also made me reflect on my role as a photographer. Speaking Mandarin in Taiwan or English in London shaped how I connected with my subjects. For me, Mandarin carries the rituals and manners of growing up in Taiwan, while English is tied to the independence I felt after moving to London alone at 18. But through this work, I realized that both languages—and both the Eastern and Western sides of myself—coexist within me. That awareness broke down my own assumptions and clarified that what I wanted to express was the same no matter where I am: the emotions, dynamics, and sense of togetherness between men that go beyond language and culture.
Two family members are doing everyday tasks in the kitchen, standing with their backs to each other.
—Adam Lin
A young man stands shirtless in a doorway, leaning his head against the wall as he looks into the camera.
—Adam Lin
Your project is deeply intimate, shot inside private homes. How did you approach your subjects?
Although I usually like to plan, this project required flexibility. Most families weren’t used to being photographed, and since homes are such personal spaces, I often didn’t see their houses until the day of the shoot. I began by spending time with them—building trust, sharing stories—before discussing ideas, moving objects, adjusting the space, and staging moments that reflected their family rituals or memories.
In Sonder, lighting was key to creating a muted, cinematic mood. I used studio lights in everyday interiors to give a slightly surreal feeling, somewhere between reality and performance. I think this visual style echoes how gender is also a kind of performance or expression. We all adopt different roles depending on the situation, whether we realize it or not. Using continuous light felt like literally putting my subjects in the spotlight while encouraging them to interact with their family. Some were natural, others more awkward—and I found both responses deeply human and compelling.
Two male family members sit together at home. One adjusts the blinds while a boy watches.
—Adam Lin
My approach blends documentary photography with staged moments. The project captures reality but also reimagines it. I’ve always been interested in the tension between what’s natural and what’s performed in daily life. As a photographer, my presence and the camera inevitably turn private spaces into public ones, adding an element of performance. Instead of resisting that, I leaned into it. I wasn’t searching for an absolute “truth” or trying to capture my subjects in their “rawest” state. Instead, I wanted to explore how masculinity is performed, negotiated, and expressed inside the home.
Intuition guided many of my choices, often inspired by memories from my own family. Then it was about noticing gestures or arrangements that fit each family’s personality. Spontaneity became part of the process, and working with children or younger participants often led to the most joyful and unexpected images.
In this photo, James, a Malaysian-British immigrant, is pictured in his London bedroom. The space is delicately decorated with a Bruce Lee poster—his childhood hero—alongside Japanese manga prints, Pokémon plush toys, and other personal items.Personal objects surround him. His muscular build brings Bruce Lee to mind, yet there’s a softness to his presence—a gentle expression and the flow of his long hair.
A happy Buddha statue sits in the corner of the living space.
What projects are you working on or planning for the future?
I’m building my practice as a facilitator and educator, focusing on socially engaged projects that let participants shape and respond to meaningful themes. At the same time, I’m expanding my fashion editorial and commercial work, using the same visual style from my personal projects to reach broader audiences. I love how the lines between fashion and art are blurring—image-making can change the rules. I want to deepen my understanding of everyday fashion and how it translates across cultures and local settings, highlighting the connections between culture, human relationships, and heritage in my work.
Also explore:
– Keigo Wezel’s interview
– Narantsetseg Khuyagaa’s interview
Frequently Asked Questions
Of course Here is a list of helpful FAQs about the East and Southeast Asian Panorama Open Call focusing on grantee Adam Lin
General Information
1 What is the East and Southeast Asian Panorama Open Call
Its a special program or grant opportunity designed to support and showcase artists creators or researchers with a focus on East and Southeast Asian cultures stories or perspectives
2 Who is Adam Lin
Adam Lin is an artist who has been selected as a grantee for this Open Call His work has been recognized and funded by the program
3 What kind of work does Adam Lin create
While specific details depend on his project for the Open Call Adam Lin likely works in a creative field such as visual arts film literature or performance with themes connected to East or Southeast Asian identity or experiences
4 Why was Adam Lin chosen as a grantee
He was selected based on the strength originality and relevance of his proposed project which aligns with the Open Calls mission to amplify important voices from these regions
For Applicants Aspiring Grantees
5 Who can apply for this Open Call
Typically artists writers filmmakers scholars or other creatives who have a project focused on East andor Southeast Asian themes Specific eligibility criteria are detailed in the official application guidelines
6 What are the benefits of being a grantee like Adam Lin
Benefits often include financial support to create the project mentorship networking opportunities and a platform to present the finished work to a wider audience
7 What is a common mistake people make in their applications
A common mistake is not clearly explaining how their project directly engages with or contributes to the understanding of EastSoutheast Asian panoramas Being too vague is a major pitfall
8 Can you give an example of a strong project idea
A strong idea would be a documentary film exploring a unique culinary tradition in rural Vietnam or a photo series documenting the changing architecture in a specific neighborhood of Seoul accompanied by personal narratives
9 What are the judges looking for in a successful application
They look for originality a clear and feasible plan a strong connection to the theme and the potential for the project to have a meaningful impact
Advanced Practical Questions