The Digital Body as a Site of Performativity and Disruption: A Critical Review of FEYU’s Work
writer: shuang caiOct 25th, 2024
In an age where the digital and physical realms intertwine, the body has evolved into a flexible site of identity formation, expression, and commodification. Technology enables us to transcend physical limitations, allowing us to reshape our identities, but it also subjects these identities to new forms of surveillance, performance, and consumption. Yu Li FEYU’s work, particularly in Elysia, Kill Me at The Dinner Party and Derung Daughter, explores the complex relationship between digital identity and reality. Her pieces prompt viewers to reflect on the balance between technological empowerment and the structures that constrain it. By creatively adopting game engines, AR/VR, and AI, FEYU crafts worlds where digital bodies become spaces for both performance and reflection. Her work captures the tension between innovation and exploitation, suggesting that while technology offers new ways to engage with identity, it also risks reinforcing the systems of control from which we seek to escape. Central to her approach is the role of the user’s agency, as the depth and impact of these digital identities are shaped not only by the artist’s vision but also by how deeply users choose to engage. As viewers navigate FEYU’s pieces, they are invited to reflect on the evolving role of technology in shaping—and sometimes distorting—our understanding of cultural heritage, identity, and agency.
Performative Identity in Digital Spaces
The digital world invites, if not demands, constant performance. Social media, gaming avatars, and even virtual meetings require us to craft, refine, and project versions of ourselves that may be far removed from our physical realities. In FEYU’s Elysia, Kill Me at The Dinner Party, this notion is pushed to its extreme. The e-lifeforms develop self-consciousness, only to realize they are the objects of human attention and consumption and eventually end themselves in action for self-preservation and redemption. The character Elysia, the e-form cyborg being, mirrors the way humans, too, must perform in the digital space. Whether on social media or in virtual realities, our digital identities are crafted in response to external validation. FEYU’s e-lifeforms may be digital constructs, but they embody a very human anxiety: the fear of becoming irrelevant, of losing one’s identity if not constantly performed for the audience.
Elysia, Kill Me At The Dinner Party, CG Film, 2024
While FEYU succeeds in capturing the uncanny juxtaposition of human anxiety and digital identities, I can’t help but wonder if FEYU’s fictional e-lifeforms ultimately reinforce the very system they seem poised to challenge. Instead of escaping the cycle of performance, they remain trapped in it—self-conscious digital beings aware of their existence only through the human gaze. It’s no coincidence that Elysia, Kill Me at The Dinner Party can be read through the lens of Donna Haraway’s Cyborg Manifesto. Haraway’s vision of the cyborg transcends binary distinctions—human vs. machine, nature vs. culture, male vs. female—yet for Elysia, a being beyond such categories, self-termination seems to be the only solution upon realizing their parasites. The devastating ending of Elysia overlooks the potential for hope and transformation in the digital realm, disregarding the possibility of a more liberating digital fantasy and once again projecting an exploited world onto the interdigital-physical asylum.
Elysia, Kill Me At The Dinner Party, CG Film, 2024
But perhaps this is precisely FEYU’s point. By presenting a “lack-of-escape,” FEYU highlights the urgent issue of how deeply the current system is ingrained in our worlds and emphasizes the "slippage of agency" as a core theme in the work. Moreover, instead of narrowly treating technologies as mere tools or romanticizing them further, FEYU suggests that technology should be viewed as equal peers to humans—reflecting upon and interacting with each other. This reciprocal relationship between humans and technology invites us to rethink the nature of digital identity and the systems of control that shape it.
Cultural Symbols in the Digital Space: Digital Identity as A Form of Reclamation
One of the most striking examples of the reclaiming of the digital body‘s agency comes through FEYU’s Derung Daughter. This AR project transforms users’ faces with digital representations of the traditional tattoos worn by the indigenous Derung women of China, a practice once used to protect women. Through augmented reality filters, users can inhabit this cultural history, their faces adorned with patterns meant to symbolize defiance and identity. Mirroring the traditional facial tattoo, the filter has flowing, wave-like patterns, with delicate lines and tendrils stretching across the skin, suggesting a fusion of organic and technological elements. The colors are mostly soft purples, greens, and golds, with highlights that give the mask a metallic sheen. Small golden spheres are integrated into the design, adding an ornamental touch and contributing to the sense of otherworldliness. At its core, the piece intends to empower and engage global audiences with marginalized traditions in an innovative format.
Derung Daughter, AR Lens, 2024
Without a doubt, FEYU has created a mystical experience with profound research into Derung culture. However, Derung Daughte treads a fine line between introducing a minority culture for public empowerment and commodifying it through digital exotification. Turning these deeply significant cultural symbols into an AR filter that users can easily turn off risks being “appropriative,” reducing a rich tradition to a consumable experience, easily stripped of its depth. Without care from users, the tattoos could be seen as mere novelties—momentary digital adornments in the fast-paced cycle of digital consumption.
As someone who adores adventurous uses of technology and believes in the importance of user agency, I see Derung Daughter as more than just a fleeting novelty. Its detailed yet futuristic design prompts deeper reflection on how technology can preserve and represent cultural heritage. In fact, I found the selected medium – AR filter – so clever, as it lowered the barrier for remote audiences to be familiarized with marginalized cultures. Even better, the particular narrative is rooted in profound Deruang women’s stories. Visually speaking, the flowing patterns and metallic sheen aren’t merely aesthetic; they symbolize the evolution of identity, where tradition and futurism intersect. Inspired by facial tattoos, the digital mask enveloping faces speaks directly to cyborg theories, creating hybrid identities shaped by layers of cultural history and self-expression. Here, the digital body becomes both a performance and a reclamation of identity.
Derung Daughter, AR Lens, 2024
While Derung Daughter relies on the user’s engagement to bring its fullness to life, FEYU’s work creates space for reflection and provides a fresh lens through which to experience these cultural symbols. The mask-like structure in Derung Daughter invokes both protection and performance, echoing the tattoos’ original purpose while allowing users to inhabit a reimagined cultural space through technology. This interaction, though dependent on the user’s choices, underscores the dynamic nature of the piece—where users can choose how deeply they engage with the cultural narrative. Ultimately, the piece transforms the digital body into a platform for engaging with history, identity, and the future, balancing the tension between commodification,cultural appreciation, and most importantly empowerments.
There is more to be revealed in FEYU’s pieces beyond the two mentioned above. Her exploration of the digital body as a space for both performance and reflection encourages viewers to confront the complexities of identity in the digital age. By world-building in new technologies and merging technologies with cultural symbols, her works concern not only how digital identities are constructed and consumed, but also how they might be reclaimed. Whether through the e-lifeforms of Elysia or the AR filters of Derung Daughter, FEYU challenges us to rethink the human- technology relationship. More than a critique, FEYU’s broader impact lies in her capacity to reimagine how technology can serve as a tool for reclaiming agency, fostering deeper connections between the digital and the human. By pushing the boundaries of what the digital body can represent, she creates a blueprint for how future technologies might enhance, rather than diminish, our understanding of identity, culture, and autonomy. Her work, while fraught with the tensions of commodification and appropriation, opens up necessary dialogues about the role of technology in shaping—and sometimes distorting—our understanding of cultural heritage and identity. In doing so, FEYU leaves us with a vision of the digital body that is not only a site of performance, but also a platform for deeper engagement with the past, present, and future.
Yu Li FEYU is a Chinese multimedia artist and filmmaker based in London, known for crafting alternative realities and digital fantasies through emerging technologies. Her practice is a blend of research and emotional introspection, examining how technology shapes spatial, philosophical, and cultural infrastructures. She focuses on themes like agency, shame/desire, and cultural identities in digital landscapes.
Through her creative worldbuilding, Yu examines the emotionality, aesthetics and architectures within networked realities. She articulates cyber subjectivities through the asymmetrical extraction of lands, bodies and information, while envisioning futures where humans and machines coexist in complex, evolving relationships. Utilizing game engines, AR/VR, and AI, she expands the boundaries of storytelling, creating immersive, interactive experiences that explore new forms of identity, sociability, and embodiment, all while reflecting her feminine and intimate perspective on digital life.
Her body of work spans films, narrative games, immersive installations, and critical writings. A notable project, “Elysia, Kill Me at the Dinner Party”, is a CG short film that investigates performative identity-making and power struggles in cyberspace, earning her the "Best Female Director Super Short Film" award at the World Film Festival in Cannes in 2024.
About Writer:
shuang cai is a curator, writer, educator, and multimedia artist. Their curatorial endeavors aim to bring forth the power of interconnectedness and diverse voices across communities. Their art practices focus on logic, interactions, and humor. shuang has previously published work at BAZAAR Art China, CultureHub, Passing Note, Art Insider, and Indienova.
Yuqi Wang: The Fluidity of Time and the Reconstruction of Identity
" Everything that is going to happen should happen ; everything that should happen is going to happen. "
--Yuqi Wang
The Sims, Black and White Photography by Yuqi Wang, 2021
Yuqi Wang (b.2000) works in many directions as a multimedia artist, filmmaker, and performer. In the diverse expressions of contemporary art, Yuqi Wang uses her unique perspective and cross-media artistic practice to lead audiences into a realm filled with philosophical contemplation and psychological exploration. Her work deconstructs traditional grand narratives, questions fixed identities, and challenges authoritative discourses through various media combined artistic forms. These forms critique changes in human experience in modern society, reflecting transformations in self-identity and social interaction under the influence of technological culture.
The Sims, The Whims of Bordeaux
Black and White Photography by Yuqi Wang, 2022
Black and White Photography by Yuqi Wang, 2022
In her early works, Yuqi Wang preferred using black-and-white photography to enhance the effects of light, contrast, and shadow, creating a unique retro atmosphere. This visual technique reduces the distraction of color, allowing the audience to focus more on the deeper meanings and themes conveyed by the image. For example, in the series “Reality and Dreamspace” and “The Sims,” the stark contrasts and shadows emphasize the surreal and dreamlike quality of the scenes, drawing viewers into a contemplative state.
Reality and Dreamspace, A Film by Yuqi Wang
00:03:46, 4K Black and White Video, 2022
Stereo (R L) | 48 kHz
00:03:46, 4K Black and White Video, 2022
Stereo (R L) | 48 kHz
Yuqi Wang’s experimental film “Reality and Dreamspace” was created using a freely flowing stream-of-consciousness approach, with the entire shooting process spanning a year. This improvisational and self-directed method emphasizes the fluidity of time and non-linear narrative. Deleuze, in “Cinema 2,” argues for the depiction of time through false relations, false movements, and irrational cuts, demonstrating how thought merges with the chaos that provokes it. Yuqi Wang’s “Reality and Dreamspace” embodies this theory, where time is no longer bound by narrative logic but centers on the viewer’s perception and emotions, presenting a fluid and transforming sense of time. This approach disrupts the continuity of traditional cinematic time, guiding the audience to experience a more essential, chaotic, and authentic sense of time.
Still Images from the Film “Reality and Dreamspace”
Yuqi Wang’s experimental films, especially “Reality and Dreamspace” (2022), “Aspiration” (2023), and “Weightlessness” (2023), are significantly influenced by Maya Deren. She uses dreamlike images and symbolic elements to explore psychological states in extreme environments. These works blur the boundaries between reality and illusion through repeated dream sequences and fluid visual elements, making the audience’s perception the key to understanding and experiencing the pieces.
In the film “Reality and Dreamspace,” extensive use of displacement and jump-cutting techniques connects indistinguishable real and potential images such as the creature, eye, girl, cup, tea, and ruins. This represents different layers of reality and dreamscape, revealing how these symbols shape and manipulate the subject’s mind. These elements guide the audience to delve into their deeper meanings, challenging their inherent understanding of reality. The work explores the boundaries between self and others, showing how these boundaries are continuously reconstructed and challenged in an individual’s psychological development and cognition.
Still Images from the Film “Reality and Dreamspace”
“Reality and Dreamspace” traverses time and space, with filming locations including the deserts of northwest China, London’s Convent Garden, and the markets of Bordeaux, France. In these locations, Wang interacts with the audience through performance art, exploring the relationship between visibility and illusion. The diverse reactions from audiences - ranging from confusion to enthusiasm - reflect the complex relationship between individuals and their environments in a globalized context.
Home Sweet Home, Multi-media space installations by Yuqi Wang
Grassland, Trees, Reeds, Tent and Others, 2023
In her recent solo exhibition “Eternal Horizon,” Wang combines experimental film and spatial art to create an immersive experience. The exhibition invites viewers to engage with the space and contemplate life, time, and space through interactive elements.
Through “Reality and Dreamspace” and other works, Yuqi Wang has innovated both technically and formally while deeply reflecting on the conditions of modern humanity. Her cross-media artistic practice demonstrates the significance of contemporary art in exploring social and psychological issues, challenging conventional perceptions, and inspiring contemplation of the future. She leads audiences into complex discussions about time, existence, and self-identity, pushing the boundaries of artistic expression and critical thought.
Interview with artist Mengqi Gao
Editor: Kaylee Qinyan ZhaoWhat inspired the title "In a Trance" for this exhibition? How does it relate to the themes and concepts explored in your work?
The title “In a Trance” comes from one of my abstract paintings. It is meant to capture those fleeting, ephemeral moments in life where mundane aspects of life sink into our hearts, creating deep emotional echoes in ourselves.
Can you describe your process of creating a digital painting? How do you capture and translate fleeting moments into lasting images?
I tend to be intuitive in terms of creating abstract paintings. When I start, I often do not have a plan of what I am going to paint. Instead, I will let my intuition and emotions guide me in my artistic journey.
In what ways does your bilingual experience influence your artistic expression and the interpretation of your work?
My bilingual experience adds multiple layers of meaning and complexity to my work. With the cultivation of different languages, I am able to roam within the realm of translations and cultural nuances, reflecting in my work the tension and harmony of living between two cultures.
Mysticism and tarot appear frequently in your work. What draws you to these themes, and how do they contribute to the narratives in your art?
Mysticism and tarot draw me in because they offer a way to explore the unknown, the ambiguous, and the potential future. When the times become turbulent and the path ahead is covered in deep mists, uncertainty rises and entangles us, blocking our futures. Divination, in this case, provides a structure for exploring complex emotions and uncertain futures without definitive answers, mirroring the fluid and unpredictable nature of life.
Could you elaborate on your interactive artwork “Through the Abstract Cosmic Future” and its reinterpretation of traditional tarot?
Through the Abstract Cosmic Future is an interactive artwork where I reinterpret traditional tarot by removing its binary gender framework while infusing it with ideologies from IChing. Instead of forecasting a fixed future as good or bad, I want my cards to offer advice and counseling to the audience. I believe that it is not that necessary to answer the uncertainties that lie ahead of our futures - whether we are going to get what we want or not but instead, it is more practical to focus on the actions that we can do to influence our futures - what are some things/advice that we can follow to get what we truly wanted. These cards are produced to emphasize courage when facing uncertainties.
How do you see your art contributing to conversations around social issues such as mental health, queerness, and the complexity of everyday life?
I see my art as a catalyst for deeper conversations around social issues like mental health, queerness, and the complexities of mundane daily life. By embedding these themes into my work, I aim to create a space where we can share our experiences and reflect and engage with these topics on a personal level.
What new themes or projects are you excited to explore in the future? How do you envision your artistic practice evolving? Are there any new mediums or techniques you are interested in experimenting with?
I am excited to explore more about the theme of uncertainty: how we are and how we can face uncertainty in the future. I plan to explore themes and mediums such as fabrics, textiles, and jewelry making and their relationship to technology and mysticism.
What do you hope viewers take away from "In a Trance"? Is there a specific message or feeling you want to convey through this collection?
With In a Trance, I hope viewers walk away with a deeper awareness of the complexity and richness of everyday life and our futures, recognizing the emotional depth hidden in the mundane and uncertainties. I hope my work can encourage viewers to find strength in vulnerability and to find courage in facing uncertainties.
Interview with Lu Lyu
Sail East to find Lemnos!written by Kaylee
1. How did your journey from Interactive Telecommunications and roles as a
Senior Creative Technologist inspire your transition into the world of art? Can
you share a bit about the personal journey or experiences that led to your
decision to explore art more deeply, especially considering your earlier roles
involving interactive technologies?
The Interactive Telecommunications Program (ITP) at NYU Tisch is a place that
encourages creativity, where students from diverse backgrounds such as physics,
biology, chemistry, art, and design converge to explore different possibilities. Before
joining ITP, I worked at a new media art company and have a strong interest in the
intersection of art and technology. At ITP, I've been fortunate to encounter Daniel
Rozin. Daniel's renowned works have been seen worldwide. In his digital fabrication
class, he shares his journey as a creator, and his words resonate with me, especially
when he talks about witnessing a work being perfected yet losing many possibilities
in the process. His words echo in my mind every time I create something. The
collaborative spirit and artistic drive I see in him and the ITP community inspires me
to explore my own art journey.
2. As a Senior Creative Technologist at Deeplocal, how do you bring your
expertise in interactive experiences into your artistic practice? How has your
work in developing interactive technologies influenced your approach to
creating art that engages audiences in a different way?
In Deeplocal, I've been involved in projects with larger scales both in terms of size
and content. This has given me the opportunity to witness the full industry-level
process of interactive installations, from conceptualization and design to packaging,
shipping, and on-site installation details. For example, I gained experience from my
co-workers in handling aspects like packaging, delivery, and regerminating circuits for
my own projects.
In my role as a creative technologist, I practice my skills for computer graphics and
creative engineering. For the tree ring project with Google, I had to write a shader for
the tree rings. Interestingly, I had previously experimented with generating tree rings
using code in my 3-day personal projects. However, this Google Tree Ring project
demands a higher level of interaction, thus it adds more complexity to creative
coding, such as real-time generation of blisters on the tree rings upon participant’s
touch. This is a project that pushes me to enhance my shader skills significantly.
I designed a program that transforms a wall into a giant touchpad. By integrating a
LiDAR sensor on its surface, the wall becomes click-responsive to human touch. I
envision applying these technologies if the need arises for larger-scale installations in
the future.
I've had the opportunity to collaborate with excellent colleagues, such as Heidi He.
Together, we worked on "the Breathing Wall" project, which is showcased in the
current exhibition.
the Breathing Walls
3. Could you share a pivotal moment or experience from your educational journey
that significantly shaped your approach to your career, and how did your post-
doctoral Research Residency at NYU and other artistic residencies further
enrich your understanding of the intersection between art and technology?
During my postdoctoral research residency at New York University, I started the
Kinetic Sculpture Club. It became a platform not only to share my passion for kinetic
sculpture and knowledge, but also to educate other people about how to build kinetic
parts with 10+ weekly workshops. Engaging in a project that involved both research
and facilitating workshops allowed me to impart my understanding of the intersection
of art and technology to students.
4. Having lived and worked in both Pittsburgh and New York, how have these
diverse environments influenced your artistic vision and cultural exploration?
I studied and worked in New York from 2019 to 2022. Upon arriving in New York city,
I was captivated by the abundance of art exhibitions and events at every corner. I
tried to spend all my weekends in galleries. Exhibitions like Lisson Gallery's "Wael
Shawky: The Gulf Project Camp" captivated me with its storytelling. The clock
exhibition “Making Marvels'' at the Metropolitan Museum showcased intricate
mechanics and automatas in Europe. It inspired me to incorporate mechanisms into
art. New York city's diversity and ever-changing art scene sparked my creativity. In
2022, I started to work in Pittsburgh. In contrast, Pittsburgh is much quieter. I start to
be more focused on my inner power, and this is when I start to make my kinetic work
into a series. Engaging with skilled woodworkers and participating in the Hack
Pittsburgh project, I learned a range of woodworking techniques. The tranquility of
Pittsburgh allowed me to delve into woodworking and rock climbing, offering
opportunities for pursuing craftsmanship and art creativity. New York pulsated with
possibility, a kaleidoscope of experiences on a grand stage. Pittsburgh became a
quiet sanctuary, a stage for introspection and inner exploration.
5. Your artwork often involves wood, motors, and microcontrollers. How do these
materials and technologies contribute to the harmony you seek in the interplay
of geometric deformation and sculptural lines?
My artistic works often involve wood, motors, and microcontrollers. I seek harmony in
the interaction of geometric deformations and sculpted curves. I always start with a
single idea. If the artwork is considered a riddle, this idea serves as the answer. All
chosen materials are intended to serve a moment of motion. I was inspired by the
artist Arthur Ganson. In his work, Cory’s Yellow Chair, six split parts suddenly
traverse different trajectories in the air, culminating in a loud sound as they combine
into a chair. His emphasis on time is akin to the essence driving my pieces – the
"now" moment, much like the clap at the beginning of a Buddhist dharma talk
signaling the present moment. My works aim to capture such moments, creating
harmony through the intricate interaction of wood, motors, and microcontrollers,
guiding the audience towards the immediacy of the present in the art.
“Fold Qingguo Alley” exhibited in LMCC
6. The exhibition "Sail East to find Lemnos!" has a captivating title. Could you
explain the concept behind the title and how it relates to the overall theme of
the exhibition? What inspired you to explore the kinetic and cultural
landscapes in this particular body of work?
The title envisions an island of women, where femininity, machinery, softness, and
hardness coexist. Lemnos Island exists in real life, but I refer to its mythological story.
In Greek mythology, there is an island of women called Lemnos. According to legend,
the women on the island were abandoned by their husbands. In retaliation, the
women of Lemnos killed all the men on the island. Pliny the Elder mentioned in his
"Natural History" that Lemnos Island had an extraordinary labyrinth, but it remains
undiscovered in modern times.
As a female creator, I am intrigued by the imagery of a female nation on an island.
However, I am not a fan of the story of a beautiful woman becoming a symbol of lust.
I aim to redefine this female island in the sea. New York happens to be a harbor city,
reminiscent of classic stories like Moby Dick, which began with Herman Melville's
whaling voyage. The famous South Street Seaport is not far from :iidrr gallery. So, I
imagined embarking on a journey from the gallery, heading towards the rumored
East, to find this island of daughters.
the island of Lemnos
7. The exhibition explores themes of heritage, ancient femininity, and personal
relationships. How do you incorporate these themes into your artworks, and
what information or emotions do you hope viewers will gain from them?
Ancient femininity represents the gentler, seemingly unassuming women of the past,
who, regardless of intensity, all have moments of female awakening. I aim to capture
these seemingly traditional, gentle moments of female awakening through sculpture.
My interest in Nüshu (女书) arises from the belief that it captures the collective
subconsciousness of these women. The origin of this exploration stemmed from a
dream where I saw the other lu in the distance. That other me is suddenly unable to
suppress something. The skin on my chest slowly began to protrude, taking on
angular shapes until it transformed into a series of flying eaves.
womeness in motion
Through sculpture, I continuously allow these women to reclaim their relationship with
their bodies and space. In ancient times, unmarried women lived in high chambers
and couldn't descend to meet people, essentially being confined within a room.
However, I believe their presence surpasses the confines of this physical space.
Using the curved surfaces in these sculptures, I aim to empower them to reclaim
entire houses, entire groups of buildings, and entire islands, using their bodies as a
medium.
untitled
8. Your work delves into the heritage of your homeland. How do you navigate the
representation of cultural elements in your art, and what role do they play in
conveying your personal narrative? Are there specific cultural references or
stories that hold special significance for you in the context of this exhibition?
My artworks delve into the traditional culture of my homeland, incorporating cultural
elements through scene selection and symbol usage, creating an artistic context rich
in cultural significance and personal narrative. In this exhibition, specific cultural
references hold special meaning for me. Qingguo Alley, an ancient alley in
Changzhou, Jiangsu, represents emotional memories, while the Nüshu (女书) script
from Jiangyong, Hunan, symbolizes ancient cultural traditions and the power of
women. The piece "The Garden of Forking Path" echoes Borges' book, emphasizing
the intertextuality between literature and art. In "Breathing Walls," the maze draws
inspiration from ancient legends and the symbolic meaning of mazes in culture,
infusing the work with mystery and significance. These cultural elements creates an
art experience resonant with emotions and cultural connections for the audience.
The Garden of Forking Path
9. You have been involved in prestigious residencies in New York and at
Shanghai Sen Rong. How have these experiences influenced your artistic
practice, and do you find collaborations and residencies essential to your
creative process? Are there specific insights or lessons from your
collaborations that have left a lasting impact on your approach to art?
My residencies at the Lower Manhattan Cultural Council (LMCC) and Shanghai Sen
Rong had a profound impact on my artistic practice. At LMCC, having a dedicated
studio space on Governor Island allowed me to interact with fellow resident artists
from diverse stages of their artist career. For example, I met Anna from France, who
inspired me to create a series of sculptures. In Sen Rong, I learned how to build and
repair ancient architecture. Traditional woodworking techniques deepened my
appreciation for wood. I have become fond of the scent of camphor wood. This
experience emphasized the importance of honesty in working with wood and the
need for constant practice to refine my skills. Collaborations and residencies have
become integral to my creative process, driving ongoing exploration, learning, and
growth in my artistic journey.
10. Given your experience as the founder of the Kinetic Sculpture Club, do you see
yourself getting more involved in educational initiatives to inspire the next
generation of artists and technologists?
Absolutely! I would love to be involved in educational endeavors, especially in New
York. As the founder of the Kinetic Sculpture Club, I am keenly aware of the
importance of education, especially in inspiring interest and creativity in the next
generation of artists and technologists. I hope to share my experience and
knowledge to guide students in exploring the intersection of art and technology and to
inspire their creative potential. In teaching, I expect to establish an open learning
environment that encourages students to experiment with new ideas and
technologies and develops their ability to think independently in the creative process.
Through education, I hope to contribute to the growth and development of the next
generation of artists and technologists.
:iidrr Interview with Yan Shao
2023 August
Yan Shao
https://shaoyan.art/
Yan Shao is a terrestrial artist and creative technologist based in New York. Yan’s imaginative new media works explore the uncharted territories of perception, mediating the complex interrelations between humans and the environment. Yan's artistic language draws inspiration from geopoetics, the transitory essence of nature, and the human responsibility towards ecology, resulting in a unique and evocative visual narrative. Through her photography, video, and interactive installation, Yan invites viewers on a journey of discovery and reflection, exploring the depth of our connection with the earth.
Your journey started in science and transitioned to art. How has your background in Geology influenced your approach to art?
My background in Geology has been fundamental to my approach to art. It has instilled in me a deep appreciation for the Earth and its processes, and a desire to communicate this appreciation to others in a way that is engaging and accessible. The training in Geology has taught me to perceive the world beyond its surface, and to understand the interconnectedness of elements and events over time. It has also taught me a sense of time that happened on a geological scale, or earth scale, we named it deep time, compared to the human-constructed scale of hours and minutes. For instance, orogenic movements, the processes that mountain ranges raise up, occur over millions of years. They are gradual yet immensely significant and impactful. These perspectives are crucial in my thinking and practice, and the expressive way I choose in my work.
COVID-19 has had a significant impact globally and personally for many. Can you talk about how the pandemic influenced your creative process and the way you approach regional and global narratives?
During the COVID-19, I was preparing for my graduation at San Francisco Art Institute, and of course, the graduation exhibition was canceled. But I didn’t want to give up because the work can’t only be shown physically. So I started researching net art and how websites function as public spaces. During that time, I went to the Salton Sea in Southern California for a field study on place, space, history, and ecology. As I heard news reports of the daily death toll, I observed numerous dead aquatic organisms and birds at the Salton Sea. This contrast prompted me to reflect on human intervention in nature and the massive wildlife deaths, which later inspired me to create a website monument where everyone can come to mourn the biology of life and the spirit of life.
The pandemic made me more conscious of the role of technology in shaping our perceptions and understanding of the world. When we went into lockdown, technology or the internet became our primary means of connection, altering our sense of place and time. This prompted me to think more critically about the ways in which technology is essential in the process of human civilization and inevitable in our daily experiences. Besides, the pandemic raised my awareness of how fragile an idealized concept of globalization, leading me to think more about how regional storytelling is important in preserving diversity and establishing shared knowledge.
Barnacle Beach at the Salton Sea, 2020
Lived In A Sea Monument showed on ZAZ at Time Square, New York, 2020
Lived In A Sea Monument showed at :iidrr, 2023
One Hundred Barnacle, 2020
You have mentioned the Gaia Theory as an influence in your research. How does this theory resonate with your work, and how do you incorporate its concepts into your installations?
The Gaia Theory, proposed by James Lovelock and Lynn Margulis, that Life is a phenomenon that occurred in the earth’s history and has profoundly influenced the conditions for survival and thriving. It is a fascinating concept that helps us to understand the earth as a whole, which has been transformed and inhabited by its copartners, including organisms and other ingredients such as atmosphere, soil, rocks, seas, minerals, etc. It inspires me in my installations that inform a more egalitarian perspective of all organisms and highlight mutual dependencies between humans, organisms, and the environment.
"Autopoiesis" is an audiovisual installation that simulates biomass bloom. What are the visual and sound represent and can you elaborate on the inspiration behind this work?
The project is a computational simulation of algae bloom, an environmental hazard in today’s world, yet also a representation of vigorous biological reproduction process. It is inspired from an ancient organism, cyanobacteria, who dominated the Great Oxidation Event and transformed the earth from an anaerobic to an aerobic atmosphere around 2.5 Ga(billion years) ago. It is one of the most vibrant organisms that can double themselves in a day. Though people often associate trees when towards a greener planet, it is actually cyanobacteria and its variable descendents floating in water, that assimilate most carbon dioxide and produce 70% oxygen of the earth. My aim with this project is to render this behavior more visible and to question human’s essential reliance on oxygen and our connection to organisms that often go unnoticed in our daily life.
Autopoiesis, 2021
"Algae Chorus" is a sound installation that collaborates with living algae. Why do you want to use living algae and any technical challenges you faced while creating it?
This project is the continuation from “Autopoiesis”, as I want to create a more sensual and interactive experience to discuss the broader group of organisms - algae. Algae has become a popular biological subject recently, being a biomaterial for industry and the potential biofuel factory. However, these approaches often carry an anthropocentric perspective that treat algae as resources rather than incredible creatures we humans actually heavily rely on. Facing the climate emergency, it is crucial to reimagine algae’s role in the carbon cycle and recognize its importance beyond its utility to humans. For this installation, I chose three different species of algae that inhabit different aquatic environments: single-cell cyanobacteria: Spirulina, microalgae: Nannochloropsis, and Chlorella Vulgaris.
Algae Chorus, 2022
In this installation, I employed 24 light sensors with LEDs to sense algae’s movements, and a carbon dioxide sensor to measure the gallery’s CO2 level. All of these were run on a Raspberry Pi. The physical computing part has many challenges, as I assemble and solder components myself. I spent a lot of time debugging the programming and resolving compatibility issues between different parts, as some ports and interfaces on the Pi did not work together.
test sensors
all parts assembled together in the gallery
Raising algae also has a little challenge at first as they all need different base and light conditions. But after a period of caring, I gradually learned how to keep them alive and thriving. This installation aims to create an engaging listening experience and open a discussion on our relationship with organisms living on the earth toward a sustainable future.
algae live in Yan’s apartment
Your project "Left To Feel That Wind" explores the perception of deep time and human time through the transformation of the Great Salt Lake. How did you come up with this concept, and what message do you hope to convey through this installation?
I visited the Great Salt Lake in the winter of 2022, during which the lake had significantly shrunk and was at its lowest water level. During my field study, I discovered that its extension, the Bonneville Salt Flat not far away, shared the same landscape, the Great Basin. The dried salt flat was once a vast lake before the last Ice Age. The vast and beautiful landscape inspired me to recreate this installation in-situ to discuss the transition of time and space and how climate change, as a radical transformation, has been accelerated by human impact.
“Left To Feel That Wind” emerged from my personal experience and reflections on the deep time versus the industrial time scale we get used to. This installation provides a shift in perspective through the material composition and spatial-scale of work - from a human view of time to a more earth view on the progressive evolution of inert matter and the delicate balance of the Earth.
Road Trip to the Great Salt Lake, 2022
Left To Feel That Wind, 2023
Throughout your career, you have blended science, technology, and art to create a bridge between humans and the Earth. How do you see the role of technology evolving in your future works?
Technology will continue to play a crucial role in my future works, as we are living in an era of technology which has profoundly influenced our perception and understanding of the world. The key is how to use technology. Instead of using it as a tool for control and surveillance, I’d like to imagine it to create experiences that enhance our sensory perception, and manifest abstract scientific knowledge in an accessible way, which is my goal how it could function to foster a deeper connection between humans and the earth.
What are your future plans? What are some themes or concepts that you are excited to explore in your upcoming projects?
My next project may relate to the ecological dynamics of estuaries. Since I have lived in New York for two years, I find myself drawn to the Hudson-Raritan Estuary. Estuaries are fascinating because they are transitional zones where saltwater and freshwater meet, symbolizing the junction of land and ocean. They provide insights into the interconnectedness of the earth and civilization, and serve as a metaphor for the ways in which different systems interact and influence one another. I would like to explore more how Hudson-Raritan Estuary has evolved into a rich ecological system and how it has nurtured one of the most diverse cultural hubs - New York.
Recently, I presented “Algae Chorus” at the 28th International Symposium on Electronic Art(ISEA) in Paris, where I met many people discussing various aspects of art and science, from soil, mycelium, bacteria, squid, glacier to alternative cosmology perspectives. Moving forward, I want to explore more residency and presentation opportunities, forge connections with broader intellectuals, researchers, and artists, who I would love to collaborate and work together to envision a shared future.
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