10 Questions with Xingyu Huang

Xingyu Huang is an interdisciplinary artist based in Chicago, known for her innovative work in sculpture, installation, and video. Her practice explores spatial dynamics and sensory perception, using these elements to delve into themes of human connection, isolation, and environmental impact. Combining ecological insight with technological experimentation, Huang creates immersive environments that invite audiences to reflect on the intricate relationships between human and non-human entities.

Huang's work has been widely exhibited internationally, with notable showcases in China, Iceland, the UK, Germany, and the U.S. Recent exhibitions include the Hyde Park Art Center and SAIC Gallery in Chicago. In 2025, she will join the sculpture department at the School of the Art Institute of Chicago as the instructor of record, further cementing her standing as a prominent figure in contemporary art.

xingyuhuang.com | @xingyu_xyh

ARTIST STATEMENT

Xingyu Huang's work creates immersive sensory experiences that capture the fleeting essence of the present moment. By examining the intricacies of communication, Huang translates and reconstructs psychological and physiological states, seeking to express unspoken emotions and perceptions. Her practice opens the possibility that art is not merely an external encounter but something that unfolds internally—within the viewer's body. Through this lens, individual experiences can transform into shared ones, bridging personal and collective understanding. Central to this exploration is her focus on human and non-human relationships, seeing humanity as part of a vast, interconnected material network that transcends the boundaries of the body.

Huang often collaborates with scientists, integrating experimental materials and electronic components into her sculptural works. Elements such as traditional medicine, plants, bacteria, indistinct sounds, unpredictable movements, and inaccessible spaces are woven together to evoke the intricate connections between body, space, and emotion. In Air Flows Between Us (2024), she embodied recorded interviews on the somatization of anxiety through the rhythm of falling woad powder. Propelled by a mechanical device, the powder's violent expulsions contrasted with its serene descent, leaving ephemeral blue stains on the walls and floor that faded over time—an allegory for the transient nature of emotional and physical imprints.

For Huang, art serves as a medium of communication where experience becomes a shared currency. Her works provoke moments that transcend sensory boundaries, often embracing dissonance to challenge cognitive and emotional limits. Huang believes that by navigating these boundaries, art fosters empathy and deeper human understanding.

INTERVIEW

Can you share your journey as an artist? How did your studies and experiences shape your interdisciplinary approach to art?

My journey as an artist began with a fascination for science and natural phenomena, evolved through an exploration of space and emotion in design, and ultimately found its voice in the boundless realm of art.
In high school, I excelled in physics, biology, and chemistry, which nurtured my curiosity about the physical and chemical properties of the natural world. During my undergraduate studies in architectural design at the University of Edinburgh, I became deeply interested in the relationship between spatial perception and emotion, particularly in how touch and sound interact within architectural spaces. This led me to explore the physical properties of materials, sound, and light and their impact on human responses.
However, I eventually found the functional constraints of design limiting and turned to art as a more open and expressive medium. After graduation, I worked as a freelance art director and installation artist, collaborating with brands such as EP Yaying, Tod's, Air Jordan, Gabriele Colangelo, and Farfetch. These collaborations allowed me to experiment with diverse materials, structures, and narrative-driven spatial designs.
During my postgraduate studies at the School of the Art Institute of Chicago, I embraced the creative freedom to produce work without the boundaries of client requirements. I delved deeper into the interplay of materials, space, sound, and light, exploring not only their physical qualities but also their social meanings. This period enabled me to push the boundaries of my practice and embrace a multidisciplinary approach.
For me, art is more than a medium for creation—it is a way to explore the relationships between people, society, and the future.
My background, which integrates the analytical mindset of science, the structured problem-solving of design, and the expressive freedom of art, has shaped a unique perspective. Through a multidisciplinary lens, I aim to weave together materials, spaces and sounds to create works that engage with broader societal and future-oriented contexts.

You'll soon be joining the sculpture department at SAIC as an instructor. How has teaching influenced your artistic practice, and what do you hope to bring to your students?

I see teaching as both a method and a motivation for learning. Being an instructor requires constant exploration of new knowledge to provide meaningful guidance to students, and this process enriches my own artistic practice. At the same time, the insights brought by students in the classroom have a profound influence on me—whether it's their varied reactions to the same reading material or innovative uses of a particular technique. These interactions push me to break out of my informational cocoon and rethink my existing knowledge from fresh perspectives.
An artist's growth is often shaped by their environment, and exchanges with other artists are essential for long-term development. I hope to provide my students with an open and free space where they feel encouraged to express, listen, and exchange ideas. By guiding them with my own experiences, I aim to foster a network of communication that extends beyond the classroom, enabling continued dialogue and collaboration even after the course ends.

Your work spans sculpture, installation, and video. How do you approach the creative process for each medium and combine them in your practice?

The techniques required for sculpture, installation, and video are vastly different, but my creative process for each stems from the same foundation. I don't confine myself to a specific medium; instead, my process evolves from design. I begin with a concept and then select the medium that best suits it. I believe this post-disciplinary approach maximizes the realization of creative ideas. For me, forcing creative minds to work within the confines of a single medium limits the exciting possibilities that can arise from a diversified perspective. 
So far, most of my concepts have been realized through sculpture, installation, and video. When the process focuses more on materials—such as woodworking, mold-making, or unconventional materials like pharmaceuticals and bacteria—the work is categorized as sculpture. When elements like movement, sound, and light dominate, installation becomes the more fitting medium. For concepts involving projection and media, I primarily use video. However, I'm always open to exploring other mediums if they best align with the concept and its intended form. My practice is driven by the belief that the medium should serve the idea, not the other way around.

As you mention in your statement, sensory perception and spatial dynamics are key elements in your work. Can you walk us through how you develop an immersive environment from concept to execution?

The process of creating immersive environments is not something I intentionally set out to do, but my background and interests naturally guide my projects in that direction. For example, in my sound and spatial installation Air Flows between Us, I began by interviewing individuals who had experienced anxiety. Many of them described the sound as a key part of their experiences, mentioning elements like the overwhelming sound of their heartbeat, disrupted breathing rhythms, or comforting audio and songs. As I analyzed the recordings, I noticed patterns in their speech—such as rhythm, frequency, and pitch—which became critical elements of the work and contributed to its immersive nature.
Unlike vision, which we can block out by closing our eyes, we cannot simply stop hearing. This unavoidable aspect of sound closely mirrors the inescapable sensations of an anxiety attack. During the production of the installation, I consciously adjusted the rhythm of mechanical impacts on wooden boards and altered the dimensions of the installation to shape its relationship with the surrounding space. Studio visits with friends and mentors were invaluable, as their feedback helped me fine-tune the audience's participation and reaction. Ultimately, in an immersive installation like this, audience engagement is the most crucial element.

What role does technology play in your artistic process, and how do you balance it with ecological considerations?

Technology allows me to transform imperceptible aspects of life into tangible forms, bringing them to light through meticulous creation. For example, I've used technology to convert sound rhythms into gravitational data or to project historical imagery through animated video. Technology is an integral part of contemporary culture, a tool that reflects the reality of our time and shapes the modern landscapes present in my work.
So far, most of my projects rely on low-energy technologies, often utilizing natural elements such as gravity, wind, and water to replace high-energy mechanical or artificial methods. When incorporating elements of the natural environment or creating site-specific works, I strive to integrate my pieces into nature rather than dominate or disrupt it. I believe thatusing technology to explore the relationship between humanity and nature creates a connection between contemporary ecological issues and artistic expression. This pursuit of balance—a dynamic harmony between innovation and sustainability—is central to my practice.

Are there specific materials or tools you consistently use in your practice? How do they contribute to the narrative of your work?

I consider dynamism a recurring tool in my practice. Whether it's the motion of sculptural forms, shifts in sound, or transitions in visual imagery, dynamic elements frequently appear in my work. Dynamism is inherently perceptible—it captures human attention and invites interaction. By manipulating aspects such as speed, frequency, amplitude, and patterns of change, I can evoke emotional states that resonate deeply with viewers. This is the primary reason I rely on dynamism as a key component in my creative process.
For example, in my public projection installation Decay Circulation, I projected a historical medical illustration of cholera-induced skin rashes onto a building's surface. The image was revealed gradually, simulating a spreading effect that made the structure appear as though it was decaying, like human skin. This slow, creeping transformation aimed to recreate the fear and pervasive sense of collapse associated with the historical context of the epidemic, using dynamic progression to immerse the audience in that unsettling atmosphere.

Your art often explores the themes of human connection, isolation, and environmental impact. What inspires you to focus on these subjects, and how do they resonate with audiences across different cultural contexts?

I left home at 17. Since then, my life has been marked by constant movement, adapting to unfamiliar foods, languages, and living environments while striving to maintain emotional stability. This sense of uprootedness and instability continues to shape my present and will likely define my future. My exploration of themes such as human connection, isolation, and environmental impact in my work stems directly from these personal experiences.  
The pandemic lockdown in 2020 made isolation a shared experience globally, highlighting the mental health challenges caused by a lack of human connection. In today's increasingly globalized world, more and more people live far from home, and isolation—whether due to policy, social, or environmental factors—has become a common condition. Feelings of loneliness, depression, and anxiety are now widely recognized as defining aspects of contemporary life, resonating deeply across cultural and individual contexts. These universal emotions make my work relatable to audiences from diverse backgrounds while encouraging reflection on our shared human experience.

The relationship between human and non-human entities is central to your work. How do you envision your role as an artist in addressing the ecological challenges of our time?

As an artist, I see myself as a mediator, fostering a deeper understanding of the interconnectedness between human and non-human entities. My work challenges anthropocentric perspectives, inviting audiences to reflect on their place within a larger ecological system. By exploring themes like materiality, temporality, and co-existence, I strive to create spaces where human and non-human elements can engage in meaningful dialogue.
I focus on phenomena shaped by natural laws or biological rhythms, examining the impact of human activity on these systems. Through immersive experiences, I place the audience in environments where they relinquish control and are influenced by external factors, encouraging them to rethink their role within the ecosystem.
I believe art holds the power to reshape our perception of the world—not as separate from us, but as an integral part of our shared existence. By creating works that illuminate these relationships, I hope to inspire action, foster empathy for non-human entities, and envision a more harmonious and sustainable future.

Please tell us about any upcoming exhibitions or projects, particularly your plans for 2025 and beyond.

Teaching will play a pivotal role in my artistic practice in 2025, as I aim to share my interdisciplinary approach with others while continuing to push the boundaries of my creative work.
A key project for the year is Sensing the More-than-Human: Emotional Landscapes of Symbiosis, a collaboration with Daniela Pierro, a molecular ecology Ph.D. student at the University of Chicago. This project merges artistic methodologies with scientific research to examine the relationship between anemones and their microbial symbionts in the context of rising global temperatures. By translating biological data into sensory forms such as sound, light, and motion, we seek to create immersive experiences that raise awareness of human-induced ecological impacts and convey these issues through the language of sensation and emotion.
Building on this project, I plan to further investigate sound as a medium to bridge the gap between the environment and human perception. By exploring the relationship between sonic landscapes and their ecological contexts, I aim to highlight the intricate connections between sound, space, and the natural world, offering a sensory pathway to engage with environmental issues.
These endeavors reflect my ongoing commitment to integrating art, science, and emotional resonance to engage audiences in conversations about the complexities of our shared world.

Looking ahead, are there any new themes, mediums, or collaborations you're eager to explore in your artistic journey?

I am eager to continue expanding my artistic practice by integrating new scientific knowledge and exploring themes that address pressing contemporary issues. In particular, I plan to delve deeper into bio-art, focusing on materials and phenomena intrinsically connected to our living environment yet often overlooked. This exploration will allow me to highlight the delicate interdependence between humans and the natural world through innovative artistic expressions.
I am also excited about forging interdisciplinary collaborations with environmental scientists and engineers to create immersive, multi-sensory installations. These works will translate complex ecological data into experiences that audiences can see, hear, and feel. By bridging science and art, I aim to make abstract environmental challenges more tangible and emotionally resonant.
Looking ahead, I aspire to create works that are not only visually compelling but also deeply interactive, encouraging audiences to actively engage with the narratives I present. This participatory approach, I believe, will foster a more profound emotional and intellectual connection between viewers and the themes of my work, inspiring reflection and action in the face of global challenges.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.