Huang Ziyue is part of a generation of artists grappling with the unstable and ever-shifting boundaries between selfhood and the digital world. The artist specialises in “creating online personas.” She builds a narrative world that exposes the violence of internet politics on marginalised communities, whilst critiquing the colonisation of our imagination by capitalism. Ziyue’s work, grounded in extensive media research, is absurdist and playful, prompting audiences to reflect on the constriction of online identities. In her hands, selfhood becomes something shaped by inwards and outward lives. It is a constant dialogue, a give and take, between our interior realities and the systems in which we operate on a daily basis.
Much of Ziyue’s practice is an examination of her own life experiences. She explains: “Inwardly, I explore the conflict between my lesbian identity, maternal attachment and the Oedipal complex, focusing on the trauma of LGBTQ identity in East Asia, as well as the complex dynamics of East Asian mother-daughter relationships.” This comes to the fore in I wanna mama, a sound installation in which four microphones were placed in hidden positions around the gallery. The artist then played out the sound of people calling out “I want my Mom,” at a volume loud enough to be picked up by the average person. Interestingly, it was often women who noticed and had an emotional reaction to the sound, whereas men reported that they had not heard anything out of the ordinary. Here, Ziyue presents a fascination mediation of gender expectations and parenthood, asking which invisible burdens are placed upon mothers. She explains: “This is a ‘huge voice’ that can be heard everywhere in life. But it is often selectively inaudible.”
Perhaps her most visually striking work is Giraffe Neck Circling the Earth Three Times (2025-2026), a video installation that sees a figure, dressed in a tall and elaborate giraffe costume, in varying absurd locations. In one, they sit high atop a tree, framed by a dense green forest, whilst in another they paddleboard across a vast blue ocean. Obedient Puppy & Beautiful Dolls (2022) is another arresting piece. Here, thrown away and lost dolls and teddies are braided into twine and suspended from the ceiling. The piece was inspired by the loss of her childhood toys, describing how: “comfort objects are the simplest emotional need in early development. A child’s sense of security is easy to meet but also easy to lose.”
Ziyue has already exhibited in Austria, China, the UK and USA. It’s clear that she’ll continue to go from strength to strength. More importantly, her work captures a generational shift, representing a new cohort of creatives who grew up with the social internet and now grapple with its consequences. Identity has always been a topic of artistic interest, but now it’s being considered as a uniquely online phenomenon. It’s a vital conversation – one which Ziyue explores with humour and gravity in equal measure.
huangziyue.org | @huangziyue_yellow
Words: Emma Jacob
Image Credits:
All images courtesy of Huang Ziyue.
