Wang Guofeng considers that his training in painting allowed him to go beyond the limits of professional photography. His works are monumental in scale, while the high resolution renders the most minute details extremely sharp. The series on socialist buildings that were shot in China, the Soviet Union and Germany explores the ideologies behind these architectural feats (their construction’s short duration is a record), their common inspirations, and national patterns that illustrate their symbolic power. To curator Huang Du, the integration of the elements of traditional Chinese architecture and classical Russian structures reflect both the collective mentality of the Chinese intelligentsia as well as nationalistic consciousness and socialist ideals. The photographs are not retouched, the work is done with the camera, time and dedication. In the series illustrating Chinese socialist architecture, in order to create a surreal atmosphere at odds with the very ideals behind Communism, the buildings are rendered as empty of people, with the exception of the artist himself in the foreground. To achieve this in such a populated city as Beijing and such a busy place as the train station, Wang Guofeng took many shots over the course of one year at the same time so as to have the same light. The artist uses a large format camera, sometimes with a long lens to take multiple shots. To produce the final image in very high resolution, the selected photographs, void of people, are then stitched together.