Xingyu Huang’s artistic initiative examines the interaction between creative techniques and scientific research by presenting a distinct and unique point of view
Xingyu Huang is an interdisciplinary, innovative, artist and researcher working across installation, video projection, and sculpture. Presently earning an MFA in Studio Art at the School of the Art Institute of Chicago, she received a Dual Degree in Environment Design and Architecture from Donghua University and the University of Edinburgh. Her artwork explores themes of spatial dynamics and sensory perception, climate justice and public health issues, utilizing these aspects to investigate issues of environmental effect, loneliness, and human connection, and combining researched data that visualize, sonify and transform all into sensory experience. Through public participation, Xingyu Huang aims to offer a unique viewpoint on the world. She builds immersive settings that encourage reflection on the complex interactions between human and non-human creatures by fusing technical experimentation with ecological awareness. She attempts to convey unsaid feelings and sensations by analyzing the complexities of communication and translating and reconstructing psychological and physiological realities.
Her work raises the concept that art is something that develops internally, within the viewer’s body, rather than just being an exterior experience. International exhibitions of her work have taken place in China, Iceland, the UK, Germany, and most recently, the Hyde Park Art Center and SAIC Gallery in the United States. She was nominated for the 2024 Outstanding Student Achievement Award from the International Sculpture Center and received the Graduate Collaboration Grant from the University of Chicago’s Arts, Science + Culture Initiative. She will further solidify her position as a leading figure in modern art in 2025 when she becomes the instructor of record in the sculpture department at the School of the Art Institute of Chicago. Xingyu Huang is currently based in Chicago.
Huang Xingyu’s official site and Instagram
Can you share with us what motivated you to choose a path in the fields of art? What were your early inspirations? What are your best memories related to art?
When I first studied architecture, I was deeply interested in spatial perception and the natural sciences. However, through my work, I realized that art offers a more free and open way to explore these themes, which is why I chose to pursue it. In commercial projects, it is often difficult to engage in pure research and expression of a single topic.Early on, my inspirations were closely tied to spatial politics and the physical and psychological distances between people. For example, during periods of isolation, when individuals were confined to their homes, what defined the relationship between private and public spaces? Who had the authority to define it? Additionally, how did memories of those we could not physically reach affect our psychological state? In what ways did we communicate with others and with ourselves? These questions originated from my architectural background but gradually extended into sociology and psychology, eventually leading me to explore and express them through sensory experiences in my final works.
One of my most profound memories related to art was when I was 19 and visited Olafur Eliasson’s solo exhibition in Beijing. In one of the rooms, a circular mist of water surrounded a completely dark, lightless space. As I stepped inside, the mist created a rainbow that shifted with my movement, surrounding me in an ever-changing embrace. At that moment, I realized the immense power of art—it can construct an entirely different kind of “architectural space” and completely transform the way we perceive the world.
You earned a dual degree in Environment Design and Architecture: what role does intuition play in your creative process, particularly when experimenting with ecological and/or technological elements?
In my creative process, intuition plays a crucial role, especially when I try to integrate ecological and technological elements. My background in environmental design and architecture has trained me in analytical thinking—using data-driven design, selecting sustainable materials, and calculating structural efficiency. But intuition helps me step beyond these rational frameworks to find solutions that feel more natural and human-centered.
When working with ecological elements, I often rely on intuition to understand how a space interacts with nature—how light and shadows shift, how air moves, or how materials influence human perception. This intuition comes from observing my surroundings and my own spatial experiences, allowing my designs to go beyond functionality and create an emotional connection. In terms of technology, intuition helps me balance digital tools with real-world experiences. While parametric design and smart technology offer efficient ecological solutions, I use intuition to decide which technologies truly add meaning rather than incorporating them for the sake of innovation. My goal is to create work that resonates with people, not just to showcase technical complexity.
The biggest challenge is finding the balance between rational analysis and intuition. Sometimes, data and calculations point to an “optimal solution,” but my intuition tells me that the spatial experience or ecological impact needs a different approach. In these moments, I continuously refine and experiment, ensuring that my designs remain both logically sound and emotionally fluid.
Plastic, Silicone
15cm x 20cm © Huang Xingyu
How do you begin developing a project that merges sensory perception and spatial dynamics? Is it driven by conceptual ideas, materials, or the space itself?
Developing a project that integrates sensory perception and spatial dynamics is always an interactive process, influenced by different starting points and creative goals. Most of my works are concept-driven—I begin with research and critical thinking to determine the overall direction of the project, then refine the details through materials and spatial design.
When a piece is site-specific, such as my series of public projections on the reversal of the Chicago River, the history, community, built environment, and natural surroundings of the site all become part of the conceptual foundation. Materials often dictate how the work is viewed and how details are handled; sometimes, the way a material interacts with light or space inspires structural decisions during the making process. No matter the approach, the core of sensory-based work is ensuring that the audience actively engages rather than just passively observing. To achieve this, I experiment, test ideas through physical interaction, and incorporate audience feedback, allowing space, materials, and perception to interact organically. This process ultimately shapes an immersive experience where viewers become part of the work itself.
Plaster, Steel, Paper, Wood, Plants
8’x8’x8’ © Huang Xingyu
How do you integrate ecological insights with technological mediums while maintaining authenticity in your own storytelling? What are the biggest challenges you face when using technology to explore themes of environmental impact?
First, I make sure that my research into the background of a project is both thorough and accurate, ensuring that I’m not unconsciously adding or assuming details that might lead the work in an unintended direction. Beyond research, the choice of materials and visual expression also plays a crucial role—these are subtle but significant decisions in the creative process.
That said, I believe audiences can sense an artist’s sincerity. The bigger challenge is avoiding a didactic tone. Many works related to ecology are research-heavy, but audiences don’t necessarily need extensive information to understand the importance of ecological balance. The key is finding ways to create a sense of connection without over-explaining or overwhelming viewers with the research itself. This is often difficult because, as artists, we immerse ourselves in deep research, and the making process inevitably involves various scientific or theoretical principles. However, in the final presentation, the challenge is to distill the work down to the point of connection—the element that resonates most with the audience—while still allowing the underlying research to remain present in a meaningful and integrated way.
Plaster, Steel, Paper, Wood, Plants
8’x8’x8’ © Huang Xingyu
In what ways does your art seek to redefine the relationship between human and non-human entities? How do you see the role of sensory perception in broadening ecological awareness through art?
I am particularly interested in perceptual similarities, such as the resemblance between kombucha leather and human skin—one being a bacterial fermentation product, the other a biological organ. Or the way sea anemones react to heat stress with movements that mirror a human body’s retching response to pain and sorrow, despite the anemone lacking intelligence.At the same time, I also focus on the different ways we interact with the same environmental elements. For example, we use city lights for illumination, while migratory birds mistake them for stars and navigate by them. We use UV light for sterilization and identification, whereas algae harness it for photosynthesis and nourishment. By exploring these parallels and contrasts, I aim to offer a new perspective on nature—one that challenges anthropocentrism and redefines the relationship between humans and non-human entities.
Sensory perception serves as a crucial cross-species language in ecological art. Information can be exchanged through light, sound, color, and scent—not just through human linguistic systems. These sensory experiences create a more immediate sense of empathy, and empathy, in turn, becomes the currency of communication.
Your artworks also reflect on human connection and isolation. How do you navigate the balance between these seemingly opposing themes in a single piece?
Balancing seemingly opposing themes is a key part of my creative process. Tension emerges between connection and isolation, highlighting aspects of daily life that we often take for granted. In many cases, one state makes the other more visible—connection feels more urgent in isolation, and isolation is more pronounced when contrasted with an attempt at connection.
A work can be conceptually rooted in connection while being formally constrained into isolation. For example, in Air Flows Between Us, a sound installation, recorded confessions from individuals with shared experiences are translated into the falling rhythm of powdered medicine. These moments of personal vulnerability—the raw desire to reach out—express a deep intention for connection. Yet, through the transformation of language into an abstract, inaccessible form, the work fragments and obscures these messages, keeping them ultimately isolated.
Your installations invite audience participation and reflection. What techniques do you use to foster a deeper sensory and emotional connection with your work? Have you noticed any unexpected interactions or interpretations from audiences that influenced your perspective on your creations?
I use mediums that directly stimulate the senses and emotions to create a faster and more immediate connection with the audience. For example, large-scale projections and multi-channel sound systems help create immersive environments with a stronger, more intense experience. Movement is also a crucial element in my work—air, liquid, and kinetic sculptures introduce a sense of presence, drawing the audience’s focus more deeply into the message the piece conveys. Since each person comes with a different background, their perception of the work varies. At times, audience interactions have surprised me. In one sound installation, a viewer assumed the piece was interactive and that their physical proximity would trigger a response. This unexpected interpretation made me realize that the meaning of a work is never entirely within my control—it continuously evolves through the audience’s experience. It also led me to consider openness and unpredictability as essential aspects of my future creations.
If resources and technical limitations were no object, what kind of project would you dream of creating? What lasting impact do you love your installations would have on those who experience them, both personally and within a broader societal context?
I dream to create large-scale immersive projects—dynamic environments driven by audience participation. However, instead of traditional museum or gallery spaces, these works will exist in public environments, leaning more towards the realm of land art.
I hope my installations leave a lasting sensory impression on viewers and spark ongoing reflection. Whether on a personal or societal level, I am most interested in whether the work can shift the audience’s perception of certain ideas, even in the smallest way. For instance, by experiencing the movement of air, shifting light and shadows, or the resonance of sound, viewers might begin to reconsider the relationship between humans and their environment or between individuals themselves.On a personal level, I want my work to heighten the audience’s awareness of their emotions and bodily sensations, allowing them to find new resonance or uncover feelings they hadn’t previously recognized. On a broader scale, I hope my installations encourage people to question aspects of everyday life that often go unnoticed—such as the relationship between humans and the non-human world, the boundaries between technology and nature, or how we perceive connection and isolation. These reflections may not lead to immediate change, but if a piece lingers in someone’s consciousness and resurfaces at an unexpected moment, influencing their way of thinking, that is the kind of lasting impact I hope to achieve.
How do you envision the role of interdisciplinary art evolving as new technologies, such as AI or augmented reality, become more accessible?
AI and AR provide a more dynamic and interactive experience for artistic creation. Artists can develop immersive works where viewers are no longer passive observers but active participants who may even influence the progression or outcome of the piece.Additionally, the nature of these technologies fosters deeper collaboration between artists, scientists, engineers, and designers. Artistic creation is no longer confined to traditional visual art forms but can integrate fields such as data science, environmental studies, and even biotechnology, driving new artistic languages and modes of expression. However, as technology continues to evolve, interdisciplinary art may also engage with deeper philosophical questions—such as the ethics of technology, the societal impact of artificial intelligence, and the relationship between humans and non-human entities. Art can serve as a medium for discussion and reflection on these issues, encouraging public awareness and critical thinking about emerging technologies.
International Women’s Day 2025, focusing on the theme “Accelerate Action”. In today’s rapidly changing world, how do you think innovation and technology be leveraged to drive faster, more significant improvements for women’s rights and access to equal opportunity?
I believe the most important impact of technology is making education more accessible for women—this is the foundation of everything. Digital tools break down geographical and social barriers, giving more women access to education, employment, and economic independence. Online learning platforms like Coursera and Udemy allow women around the world to receive high-quality education, even in regions with limited resources. Women need to recognize their potential, be more ambitious, and step into positions of real power and influence in society. Only then can we drive systemic change and create fairer opportunities. At the same time, the rapid development of technology is generating more jobs in tech, and more women should be part of shaping the platforms, applications, and data that define our future. Ensuring equal representation in this process is key to maintaining a balanced and inclusive digital world.
Photos and images courtesy of Xingyu Huang
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