From Shanghai to the sweeping landscapes of the American West, Beihua Guo’s journey is as transformative as his art.
Growing up in Shanghai, China, Beihua first visited the United States at 13 and later moved here at 15. His fascination with the sublime beauty of Yosemite and the Grand Canyon laid the foundation for his artistic pursuits. A pivotal moment came during his senior year of high school, when he was awarded an artist residency at Petrified Forest National Park in Arizona. Living in a desert adobe house for two weeks profoundly shaped his life, marking the start of his commitment to art.
Today, Beihua is a first-year MFA student at the School of Art at the University of Arizona and a member of the prestigious 2024–25 University Fellows cohort. His work blends art and activism, unearthing hidden histories and engaging with complex narratives through innovative projects and interdisciplinary exploration.
“That same cabin was where I submitted my college application to Pitzer College,” he reflects. But his romanticized view of the American West was soon challenged during his studies in studio art and environmental analysis. Beneath the picturesque landscapes, Beihua uncovered darker stories—tales of genocide, exploitation, and environmental devastation. These revelations shaped his artistic philosophy: a commitment to unearthing erasure and invisibility in history.
How It All Began
Beihua’s passion for photography began in middle school when his computer science teacher handed him a camera and encouraged him to explore the campus. “I took a lot of photos in middle school—of people running on the playground, performing on stage, singing in choirs, all kinds of performances,” Beihua recalls. This experience gave him valuable skills, especially in capturing action and performance shots, “I was trained to take photos in those difficult lighting conditions,” he says. Initially, his photography was documentary rather than artistic.
“There are two things I really love in this world: rocks in Chinese gardens and the U.S. National Parks,” Beihua reflects, hinting at the roots of his connection to landscapes and his artistic journey. After he moved to the United States, he developed a deeper appreciation of Chinese culture. The stones in classical Chinese gardens, known as Scholar’s rocks, have been admired by emperors, politicians, and literati for centuries. These rocks are revered as microcosms that contain sublime peaks and grotto-heavens. In his work, Beihua flips the photograph of the garden rock vertically, removes its background, and transforms the image into a photographic negative. The shadows of his photograph, composed of the cavities, indentations, and perforations of the rocks, now become the highlights, symbolizing the mighty force of nature.
Uncovering Stories in Landscapes
One of Beihua’s most significant projects, Water is Thicker Than Blood (2021-2024), delves into the history of the Los Angeles Aqueduct and the California Water Wars—a story intertwined with greed, violence, and environmental ruin. Using an outdoor projector, he brought historical newspaper headlines, texts, and images to life on the ruins and engineering features along the aqueduct. The project was supported by grants from the Lucie Foundation, the Scholastic Art & Writing Awards Alumni Microgrant Program, and the Aftermath Grant.
“This project allowed me to confront the layers of history buried in these structures and offer a way to engage with the past,” Beihua explains. The haunting projections bring attention to stories often ignored, like the 411 victims of the 1928 St. Francis Dam Disaster.
Latest Explorations
At the University of Arizona, Beihua continues to challenge narratives and explore complex themes. His ongoing project, Designated Ground Zeros, examines over 300 nuclear targets in China identified by the United States Strategic Air Command in “The Atomic Weapons Requirements Study for 1959.” Using the uranium printing process, he creates radioactive uranotypes, juxtaposing history with a medium that speaks to the fragility of life and the consequences of conflict.
Some of these works will be featured in the first-year MFA exhibition at Rombach Gallery in January.
Another recent project revisits the iconic photograph East and West Shaking Hands at Laying Last Rail, which omitted Chinese laborers who made up over 90% of the workforce. Through long-exposure self-portraits, Beihua examines erasure and displacement, capturing the spirit of forgotten narratives in locations such as railroads, vanishing Chinatowns, and along the U.S.-Mexico border.
In Southern Arizona, Beihua’s humor shines through in a project addressing the invasive species buffelgrass. Inspired by the mythic geography of Classics of Mountains and Sea, he also explores pseudoarchaeology, blending satire with cultural reflection.
Why Arizona?
Beihua’s decision to join the University of Arizona was driven by the exceptional faculty in the PVI (Photography | Video | Imaging) program. Professors Sama Alshaibi, Marcos Serafim, Martina Shenal, and David Taylor inspire him through their innovative work.
“This semester, I’m taking David Taylor’s class Border as Network, where we’ve been visiting sites along the U.S.-Mexico border,” Beihua shares. “I was fortunate to take this class during my first semester here, and I gained a deeper understanding of the complexities along the border and realized my privileges as an artist working in the United States.”
The university’s status as an R1 institution also provides ample opportunities for interdisciplinary collaboration. For Beihua, Arizona is not just a place to study but a vibrant environment to grow, connect, and challenge himself.
A Vision for the Future
Beihua’s long-term aspirations reflect his multifaceted identity as an artist and educator. He hopes to continue creating politically charged, research-based art that addresses complex societal issues. Teaching is another passion, as he enjoys engaging with diverse perspectives and inspiring creativity in others. Having taught workshops for high school and college students in China and served as a TA, Beihua dreams of combining his artistic practice with education. His goal is to teach photography at the higher education level after getting his MFA degree.
He also envisions using his art as a form of activism, emphasizing the political power of the medium. “It’s an artist’s responsibility to uncover and address complex issues in society,” Beihua believes.
Beihua’s art is a call to remember and reckon with the past while imagining a more honest and inclusive future. His work reminds us that the landscapes we admire often hold stories waiting to be uncovered. And he is determined to bring them to light.
Whether through the haunting glow of a projection on ruins, the tactile process of uranium printing, or the simple elegance of a self-portrait, Beihua’s work invites us to look closer. His artistic journey is a testament to the power of storytelling and the resilience of truth, leaving an indelible mark on both history and the art world.
Past University Fellows features
- Lori Hennessy | Shaping inclusive cello pedagogy
- Fátima Corona del Toro | The power to choose
- Gloria Orozco Dorado | Rocking the clarinet
- Savanah Pennell | Arts research with social justice