10 Questions with Yi-Han Chou
Yi-Han (Audrey) Chou is a Dancer, Researcher, and Multimedia Artist originally from Taipei and currently based in New York City since 2018.
Audrey graduated from The New School with a Fashion Design (BFA) major from Parsons and a minor in Contemporary Dance (BA) at Lang. She is a current student at New York University Tisch School of the Arts, Interactive Telecommunication Program (MPS), where she has continued her research in areas of interactive design, experimental filmmaking, site-specific performances, sound design, real-time art, and immersive production.
Yi-Han Chou - Portrait
With a focus on storytelling through bodily movement, Audrey’s work is a testament to the intricate interplay of embodiment, cultural identity, and diversity. Grounded in a deep appreciation for cultural exchange and the nuances of kinetic expression, her artistry draws inspiration from the natural world and existential theories of temporal unity with a purpose of healing.
At the core of her artistic endeavor lies a commitment to amplifying the voices of marginalized communities. Through meticulous research and innovative storytelling techniques, Audrey seeks to illuminate the complex narratives of immigration, post-war legacies, and the enduring effects of colonization. Her aim is to create a narrative tapestry that transcends temporal boundaries, weaving together past experiences, present realities, and future aspirations into a harmonious and transformative artistic expression.
Through my eyes, 16mm film, 2022 © Yi-Han Chou
INTERVIEW
How have your studies in fashion design and contemporary dance influenced the way you approach your current work?
Fashion has provided me with a more commercial lens into the art world, while contemporary dance has given me a perspective on presentation and a form of expression that feels deeply connected to my soul.
Both have been instrumental in my artistic growth because I’ve learned so much about each industry. Over time, I’ve found my unique position by combining these experiences. For me, there’s always cross-collaboration happening between different industries. Having experience in both fields has expanded my creative pipeline as an artist.
Can you share how your journey as a dancer, researcher, and multimedia artist began? What led you to pursue such an interdisciplinary artistic practice?
Since I was three, I’ve always known I wanted to be an artist. However, along the way, my dreams shifted between becoming a director, product designer, fashion designer, and actor. I feel fortunate to have had the chance to explore all of these dreams while immersing myself in new media and multimedia art.
My research has become more focused as I search for my style and gain a deeper understanding of myself as an artist. I attended an art middle school, where I learned various drawing techniques, including watercolor, sketching, and painting.I also began dancing in middle school. Since I wasn’t a fan of traditional academic studies, I’ve always pursued what really interests me, even to this day.
You moved from Taipei to New York to develop your career. What have you learned along the way? And how did this move help you further develop your practice?
As a child, I’ve always had a strong desire to succeed as an artist. Moving from Taipei to New York allowed me to gain a more international perspective—not only as an artist but also as a person. It created space for me to understand myself better, define my values, and reflect on what truly matters to me in life. It also helped me improve how I communicate with others.
The Pond, 2024 © Yi-Han Chou
What role does cultural identity play in your work, and how have your personal experiences shaped your perspective as an artist?
Being a Taiwanese artist has shaped my practice, especially as I research cultural identity. Taiwan’s complex colonial history and diverse cultural influences have been key to my exploration.
As a child, I often felt different and disconnected from my culture because my family traveled frequently, and I was also not having too many friends growing up. These experiences gave me a unique lens through which to understand my identity and experience and incorporate them into my work.
Your commitment to amplifying marginalized voices is central to your practice. How do you ensure these narratives are authentically represented in your work?
I’ve conducted extensive research on Asian-American communities and their representation in the media. I’ve also studied migration and immigration and prioritized collaborating with women artists and organizations whenever possible.
I’m selective about collaborators based on the topic and purpose of a project, often working with people of color who advocate for the same causes. Additionally, I’m very conscious of how my work impacts others. As a sensitive person, I avoid creating art that feels overwhelming or mirrors the artist’s anxiety. Instead, I aim to evoke a sense of peace and comfort in the hearts of my audience.
Your work often focuses on storytelling through bodily movement, as you mention in your statement. How do you translate complex narratives into abstract movements?
For me, movements are like shapes—lines drawn in space with a paintbrush. The quality of movement can evoke specific emotions, and much of this comes from observing people in everyday life. I also study how the body reacts in different social and emotional situations and store these observations as tools for storytelling.
Can you discuss your use of immersive and interactive techniques in your projects? How do these approaches enhance the themes you explore?
I’m fascinated by connecting the dots—whether it’s between techniques or industries. I’m particularly interested in triggering people’s senses because we now live in an age where many are caught between the digital and physical worlds. There’s a need to be present in space.
The interactive elements I’m currently exploring are tied to humanity. I’m curious about how to motivate and spark curiosity in people, encouraging them to engage with and explore my work. I aim to connect with people on a deeper level through these interactions.
Ultimately, what do you hope audiences take away from experiencing your art, and how do you measure the impact of your storytelling?
I hope audiences feel inspired or perhaps remember forgotten memories. My goal is to express vulnerability while maintaining space to observe the narrative alongside the audience.
Looking to the future, what new themes or techniques are you eager to explore in your work, and how do you see your practice evolving?
I want to continue exploring audio-visual-based artwork, interactive design, and light-based performances. In terms of themes, I would love to dive deeper into the experience of Taiwanese people in Japan, as well as many other things like the life of emerging artists, etc. Creating sound has become a practice I’m eager to develop further. I see my work continuing to revolve around performance but expanding into different formats and possibilities.
Lastly, where do you see yourself and your work five years from now?
This might feel like a big dream, but I hope to see my work showcased at venues like The Shed, MoMA, or the Guggenheim. I would also love to build a community that supports women artists of color.
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.
