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Sculpture (MA)

Yue Yin

Yue Yin (b.1997, Jilin, China) is an artist who is currently based in London. Yin gained his Bachelor of Fine Arts Degree in Studio Art from School of the Art Institute of Chicago in 2020. Yin utilizes different art forms to visualize his point of view on multicultural phenomena. Taking the difficulty of cultural integration as a starting point, Yin’s work explores the vulnerabilities caused by societal discomfort, especially those linked to immigratory.

Yin is a member of the China Sculpture Institute and has also been involved in the execution of many commissioned public art projects in various countries. He has participated in multiple institutions' projects and exhibitions, including 575 Wandsworth Road, National Trust, London (2023), Indonesia Indonesian Contemporary Art & Design 12, Jakarta (2022), Battersea Park, London (2022), ReA! Fair, Milan (2022), Suzhou Jinji Lake Biennale, Suzhou (2020), Sullivan Gallery, Chicago (2020), China Sculpture Museum, Datong (2018), Galerija Nevesinje, Nevesinje (2018), etc. His works have been permanently collected by the Sculpture Programme of Royal College of Art, School of the Art Institute of Chicago, Wuhan Overseas Chinese City, Art Jahorina, etc. 

Artist sitting behind his studio desk, with recent years artwork around him and project sketches on the wall.

My work explores the challenges that arise when different cultures come together, focusing on the vulnerabilities that emerge during the process of cultural integration. As a male artist, I have noticed that societal expectations of masculinity often discourage the expression of personal vulnerability. Recognizing this, I have started to ponder the underlying reasons behind this reluctance and how we can redirect the conversation about vulnerability to a different perspective, particularly how our environment contributes to its development.

To begin this exploration, I have turned inward and considered these fundamental questions within the context of my role in the family, the nation, and even in broader social or virtual settings. These questions delve into issues of self-doubt, self-identity, and the influence of our living environment on individuals.

What kinds of vulnerabilities do we commonly experience? How do these vulnerabilities manifest and impact the world around us?

These questions are not limited to the present moment but also encompass the past and future of the subjects being studied. Drawing inspiration from living in a world shaped by geopolitical conflicts and the aftermath of epidemics, we must contemplate what attitude we should adopt in response to these circumstances.

Viewer walking next to Testimony.


Testimony is an installation that explores the complex interplay between political power, societal structures, and the questioning of established systems. Through a carefully constructed arrangement of elements, the artwork challenges the viewer to reflect on the nature of authority, its relevance in contemporary society, and the fundamental order that underpins it.

At the core of the installation stands a doric column, an emblematic symbol of political power and establishment. This iconic architectural feature embodies the strength, endurance, and permanence associated with traditional structures of authority. However, the column is not presented in its pristine form but rather subjected to a continuous assault.

Surrounding the column is a metal structure that holds it in place, conveying a sense of stability and support. Yet, upon closer inspection, the viewer notices the presence of 24 linear actuators, each meticulously positioned to pound the column incessantly. These mechanical devices relentlessly fracture the column, transforming it from a symbol of power into a shattered testament of its own vulnerability.

The title Testimony encourages multiple interpretations, resonating both politically and religiously. From a political perspective, the artwork serves as a testimony of the establishment—a statement of the existing power structures within society. However, it also invites contemplation from a religious standpoint, evoking notions of bearing witness and revealing hidden truths.

Testimony compels the viewer to question the role of the establishment and its presence within society. The relentless pounding of the column reflects the ongoing scrutiny and criticism that institutions of power face. By challenging the assumed permanence and stability of these structures, the artwork invites a reevaluation of their significance and impact. It serves as a critique, interrogating the purpose and legitimacy of established systems. It encourages reflection on the fragility of power, the necessity of societal examination, and the potential for transformation. 

Ultimately, this artwork calls upon the viewer to consider their role as a witness and active participants in shaping the future of society.

Be my witness.

Be the testimony.

Still shot of Testimony
Testimony on display
detail shot ofTestimony
detail shot ofTestimony
detail shot ofTestimony
Testimony - detail


Metal, fiberglass, linear actuator


200 x 200 x 294 cm
rotational billboard, writing When is it too late to make a change? with three different answers, yesterday, today, tomorrow.
Sense of Urgency - Side A


Sense of Urgency aims to stimulate critical thinking and reflection on our current times. Through the use of the TriVision Rotational Billboard, the artwork proposes an open-ended question that invites viewers to engage in a dialogue about the pressing issues of our era.

While some viewers may find that the artwork relates to climate crisis issues, others may perceive it as a reflection of political issues or anti/globalization movements. The open-ended nature of the question allows for diverse perspectives and interpretations, emphasizing the need for collaboration and mutual understanding in tackling complex issues.

Sense of Urgency is a call to action that emphasizes the importance of recognizing the urgency of our times and embracing the need for change. The dynamic nature of the TriVision Rotational Billboard further emphasizes the idea that change is an ongoing process, and that we must continuously reevaluate our beliefs and actions in response to the evolving world around us.

Sense of Urgency on display
Side B, Answer to the question becomes Today.
Sense of Urgency - Side B
Side C, Answer to the question becomes Tomorrow.
Sense of Urgency - Side C


Tri-Vision Rotational Billboard, vinyl


50 x 40 x 8 cm
How Long to Wait on show at Barge House, OXO Tower, London.
How Long to Wait (center) on show at Barge House, OXO Tower, London.


How Long to Wait encourages viewers to contemplate the passage of time and raise thought-provoking questions about the human experience of waiting. The artwork consists of an azure-coloured ceiling light that resembles a sunroof, accompanied by a transparent balloon that is affixed to the light, creating a sense of longing for freedom and escape that cannot be attained.

The installation is further enhanced by an LED strip that converts sound into lightwave, visually transmitting a series of questions that link directly to the artwork's title. The lightwave shoots from the ground up to the ceiling, creating a captivating visual display that raises questions about the nature of waiting and time.

As viewers interact with the installation, they are invited to reflect on their own experiences of waiting and contemplate the broader implications of this universal human experience. How Long to Wait encourages viewers to engage with the complexities of time and the human condition, leaving them with a profound sense of contemplation and reflection.

How Long to Wait, front view, square azure color light on the celling, with long blue LED light dripping on the floor.
How Long to Wait, front view
How Long to Wait, bottom view, square azure color light on the celling, with long blue LED light dripping on the floor.
How Long to Wait, bottom view
How Long to Wait on display


LED, speaker


Size variable, approx. 240 x 40 x 200 cm
Nine huge banners hanging on the celling, speaking about the idea of caring, who cares about whom.
Representational Difference


Amid the rising global political tension, traditional energy sources like coal have re-entered the public eye. While debates continue regarding the relationship between energy usage and carbon emissions, it is certain that carbon footprint is no longer just about human survival and climate change, but also about the tensions and political games between political institutions.

As early as 2010, Chinese scientist and politician Dr. Ding Zhongli had a famous dialogue with journalist and environmental activist Chai Jing. Chai questioned whether Dr. Ding, as a scientist, had maintained neutrality in his speech and attitude during the 2009 United Nations Climate Change Conference. In response, Dr. Ding explained that as a member of a developing country, carbon emissions were related to every individual and to China. The fight for carbon emissions rights was actually a global competition for development space, and emission rights were development rights that should not be divided by national borders. Dr. Ding also famously asked on Chinese social media, "Are Chinese people not human?" Today, Dr. Ding is still studying the basic logic and technological requirements for carbon neutrality, while Chai Jing and her family moved to the United States several years ago.

Ultimately, in environmental issues, we are exploring how humans can gain more time and save themselves. In this work, exploration of the relationship and care takes place between you, me, and others, and whether this relationship changes in different linguistic and cultural backgrounds. When it comes to tackling climate change, carbon emissions, and other issues, whether humanity as a whole can save itself depends on culture and civilization. When dealing with various challenges, people should generate a more inclusive and resilient civilization or develop our existing civilization more effectively.

Representational Difference on show at Hangar Gallery, Royal College of Art
Representational Difference (part) on show at Hangar Gallery, Royal College of Art


Printed silk banner


1000 x 120 cm each, total of 9
A natural branch with words made of LED neon on it, saying We are the extension of the land.
We Are the Extension of the Land


We Are the Extension of the Land is a reflection on the complex relationship between humans and the environment, specifically on the effects of colonization, human settlement, and climate change on the land. The artwork is inspired by a journey to Iceland, where the artist witnessed the stunning beauty of the country's natural landscapes, as well as the impact of human activity on the environment.

The artwork is a call for decolonization, a recognition that the land is not something to be conquered, exploited, or dominated, but rather an extension of ourselves, a part of our identity and existence. It challenges us to rethink our relationship with the environment, to move away from the idea that humans are separate from nature, and to recognize that we are part of a larger ecosystem that is inextricably linked to our survival.

A natural branch with words made of LED neon on it, saying We are the extension of the land.
We Are the Extension of the Land - detail
A natural branch with words made of LED neon on it, saying We are the extension of the land.


Branch, LED


220 x 30 x 40 cm

China Sculpture Institute