A short-animated film "Rabbit in Wonderland" with awkwardly beautiful visuals and the storytelling of an adventure honors the Year of Rabbit 2023 and the bloom of cultural legacy and diversity in the nowadays digital age.
The work “Descendant” is an immersive VR art experience expressing the observation and reflection on the cultural memories behind cultural heritage Cantonese embroidery. The work presents a whimsical and surreal imagination of the future potential of Cantonese embroidery, as well as its breakthrough of the technical shackles in the digital age.
R.E.D. (Rebirth, Empowerment, Determination) is an experimental contemporary art show/dance performance showcased at UCCA Lab to celebrate 2020 Chinese New Year. The show depicts the sunrise on the ocean, which symbolizes people’s anxiety and grand hope for a new day and a new life. It also illustrates a so-called post-human status in young Chinese generation’s mind. The performance is part of the Budweiser campaign in China 2020.
Flirting Goblets, this project is a series of kinetic products designed to facilitate social interaction. A feathered device is connected to each goblet, serving as an avatar for a person to gently touch the world. When users are holding the goblets and cheering during dinners or parties, the feathers, controlled by the sensors, will start to “flirt” by waving to one another in a humanized manner. The goblets become the props that visualize intimacy and help people break the ice in an implicit but playful way. Flirting Goblets are showcased at the New Museum of Contemporary Art (NYC), UCCA Center for Contemporary Art(Beijing), etc.
The Another Village is an immersive performance of UCCA Gala 2018 in celebration of the 11th anniversary of UCCA, China’s leading independent institution of contemporary art. Consistent with the theme of UCCA Gala 2018, “An Institution Reborn,” this performance, inspired by an ancient Chinese tale, The Peach Blossom Spring, transforms UCCA into a utopian village between “willows” and “flowers,” within which a story of the birth of a new day unfolds.
There was a sense of helplessness in the two stories about Canton enamel told by the craftsman who has inherited the craft, and the same time, HE Wei could viscerally feel the fate of these traditional craftsmanship of intangible cultural heritage, caught in the torrent of big epochal changes. It made him rethink the sumptuous, but fragile sense of value of the decorate arts.
The opening of Art Macao 2021, an immersive art performance named as Soiree of the See, is about the goddess of ocean reunion the east and west that recalling the history of Macau as well as attempting to express the current global issues.
The Aerial is an participatory installation for 2017 Asian Contemporary Art Week(ACAW) Opening Event. The work is comprised of hundreds of delicate uncanny ‘creatures,’ in each of which a feathered ‘head’ is connected to three pointy ‘legs’ at the bottom via a long slim ‘neck.’ The work is inspired by the visual of the incense burner from Han Dynasty in ancient China, which usually features a paradise where animals of various kinds reside and frolic. Guests are encouraged to use the bottom of each ‘creature’ as a fork and play with it while mingling with each other in a breezy atmosphere.
In Fruit Wall, HE+HU relocates traditional fruit picking in an interior environment where the colors, scents and textures of fruits are emphasized through a graphic inspired display and joyful interactive process.
The concept comes from the scenario of families and friends sitting on the lawn and picking the wild fruits, enjoying a delicious picnic and gorgeous sunshine. However, what if this food event occurred in the museum or gallery during the opening reception? This event design piece attempts to challenge social behavior in the public environment. HE+HU moved the typical outdoor scene indoor, using man-made materials, nylon, to recreate abstract trees and grass, and combining man-made fruits, which was chocolates, to regenerate a completely “unnatural” indoor landscape.
Lamenting on the elapsed of Time, “Green Fat Red Thin” is taken from a Chinese classical poem by Li Qingzhao from the Song Dynasty, metaphorically illustrating the growth of the leaves while the flower withering away. The code of the interpreted poem corresponds to every participant’s interaction in parallel of “Sin(ofGetElapsedTimef()) ”.
When a bag of food stapled on the canvas is ripped off for eating and drinking, a piece of paper will come along with texts on its back side. The resulting tear on canvas reveals some more reports and news hidden beneath the top layer.
Taken the inspiration from Chinese culture, Propriety is exhibited at the Vanderbilt Hall in Grand Central, New York. The concept derives from the traditional Chinese bow combining modern western dance. The show is seen as a reflection of a person's propriety and personality. The food art performance brings this idea in a dramatic way to create a connection and dialog between ancient Eastern philosophy and modern Western performing art language - "Past" and "Present", corresponding to performers and audiences respectively.
Drinkin’ Man was designed to invoke an open conversation about the influence of alcohols and its association to the adult life. By using these tie-shape bottle covers named [Oh Bottle Dress] as costumes, the performance refers to the ritual of tie-wearing and the associated “working” and “after work” states that an adult has to experience during a day. By hiding different bottles of alcohols in the uniformed covers, it also reveals the depression caused by deprival of personalities in workplace and the desire of alcohols after work.
Manna is one participatory project for the ephemeral food art show Finding Puberty. It was composed by 400 pieces of brownie inside of the transparent containers with green spoons which were laser cut into the shape of grass, and six bags of cream were hanging above the brownies. From a distance, the green spoons looked like grassplot in spring, while, the cream was squeezed out of the bag indicated the welcome rain after the droughty winter, like the juice of male, it irrigated the land and spring began.
Jewelry and food are two different aspects of showing who we are, and it was this notion that helped us make this connection [between food and jewels] that challenges the traditional production of jewelry.
A lighting sculpture that extends upwards, attempts to create a collision between the natural and the artificial with its stem-like shape and factitious material and texture. Also the work transforms 3D to 2D by casting lighting spots on the gallery’s ceiling, walls or ground.