Hua Tunan was born in 1991 in Foshan, China. He left the country to study graphic design at the Raffles Design Institute in Singapore, but he said the coursework bored him. When he saw street artists spray-painting the sides of alley walls and old buildings, he tried his hand at the craft. He said the technique reminded him of ink wash painting, an ancient Chinese art form similar to calligraphy that his father taught him when Tunan was a young boy.
“When I use the spray paint, I can think it’s like a Chinese brush,” he said.
He has since developed his own unique style that blends Western graffiti with Chinese brush strokes, using the spray paint to mimic ink splashes. Companies from Adidas to Louis Vuitton have used Tunan’s work for advertisements.
Postmortem photography or memento mori, the photographing of a deceased person, was a common practice in the 19th and early 20th centuries. The photographs were considered a keepsake to remember the dead. Child mortality was high during the Victorian era. For many children even a common sickness could be fatal. When a child or other family member died, families would often have a photograph taken before burial. Many times it was the first and last photograph they would ever possess of their loved one. Many postmortem photographs were close-ups of the face or shots of the full body. The deceased were usually depicted to appear as if they were in a deep sleep, or else arranged to appear more life-like. Children were often shown on a couch or in a crib, often posed with a favorite toy. It was not uncommon to photograph very young children with a family member, most frequently the mother. Adults were more commonly posed in chairs or even propped up on something.