Qiuhui Hou

Qiuhui Hou is a visual communicator based between London and China.

She enjoys experimenting with the interplay between virtual and physical materials like videos, games, sculptures and installations, digital and analogue as part of her creative process, exploring the relationship between society and culture in a global perspective and finding her own connections to the outside world.

In her artistic practice, she combines various media forms such as immersive virtual reality experiences, interactive multimedia installations, and augmented reality sculptures to push the boundaries of traditional artistic mediums and engage her audience in novel and thought-provoking ways.

Before MA (RCA) in Visual Communcation, Qiuhui completed a BA in Graphic and Media Design at London College of Communication (UAL).

She creates art in direct response to the pervasive portrayal of capitalism in today’s market-driven world and the powerful influence it holds over our society. Through her work, she explores the effects of capitalism’s dominant imagery and how it shapes our understanding of the world. By examining the phenomena generated by capitalism’s image hegemony, she aims to challenge established narratives, provoke critical thinking, and encourage a deeper examination of the relationship between capitalism, culture, and our individual connections to the wider world.

In her artistic practice, she utilises contemporary Chinese culture like Chinese table culture, as a lens to examine and respond to the pervasive authority and control present in different aspects of the cultural sphere. This includes the influence of media, shaping narratives and perspectives; language and discourse, shaping communication and understanding; and political and economic forces, affecting artistic expression. Through interactive technology, installations, and videos, she creates a multi-media experience that immerses viewers and invites them to actively engage with the artwork. By experiencing the original sensory aspects like listening, speaking, and seeing through different media, viewers become integral participants in the dialogue of the work, breaking the boundaries of spectatorship and becoming an essential part of the artistic experience.

In her future work, she will continues to experiment with crossing the boundaries between digital and analogue spaces, constructing diverse narrative environments and exploring interactive engagement with audiences, while delving into capitalist symbol systems.

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With the process of modernisation and urbanisation in China, the demand for clean and tidy streets has led to the gradual disappearance of street food and vendors face strict regulations, fines and confiscation of goods and in some cases even violent enforcement by city police. Many street food vendors in China find themselves in a game of 'cat and mouse' with local authorities, with China's rapid modernisation leaving them fighting for survival in some places.

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The disappearance of street food is tragic because it was an important part of urban culture.

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In this project, I therefore aim to explore how the experiences of Chinese night food vendors reflect the power dynamics they negotiate with different forms of authority (including law enforcement, government officials and corporate interests) and to explore the cultural and social significance of street food in Chinese urban communities.

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