Wandering Directions

Baopu FELT Residency
Exhibition Catalog
Kaili, Guizhou, China
2025

Through triple-weaving practice, heeh explored the multisensory linguistic experiences within multi-ethnic communities, alongside their embedded spirit narratives and pluriversal cosmologies. Where mist embraces soil, the voice from the street market chats to ritual hymns and mountain songs, people converge and co-be. Our focus centers on the "embodied knowledge" carried by non-written languages—a linguistic form perceivable only through participatory practices like chanting and dancing, whose essence lies in body-memory and collective imagination. Building on fieldwork and interviews, we will facilitate body workshops using devising methods to study embodied expression. Meanwhile, experimental ethnographic films trace the translation of language into bodily form, summoning cosmic spirits in the liminal space between documentary, memory, and oneiric language.
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The Love of Fog

The Love of Fog (2024, 19 mins)
Video Art | Ethnographic Fiction

The Love of Fog emerges from field research and visual ethnography conducted in Xiangxi, the mountainous western region of Hunan Province. The work investigates local rituals, ghost stories, and the layered textures of cultural hybridity. Rooted in a series of news reports, reflects on a post-pandemic tragedy: a group of Chinese youth who traveled to Zhangjiajie with the intent to jump off its cliffs. Through a montage of Xiangxi ritual performances, footage of jiangshi—the hopping vampires of early Hong Kong horror cinema—and viral internet videos, the film examines the fraught relationship between the anomalous body and modern control mechanisms. At its heart is the motif of fog: both a narrative device and a visual force. Within the cosmology of local witchcraft, fog serves as a medium of transformation, dissolving the boundaries between the human and the monstrous.

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A Bone-

O! Great Ghost Tales

Paper installation; ink on paper, thread, needle;
2025, Exhibition Catalog

The fragmented bones of an unidentified creature are sewn into a long ritual scroll. The sacrificed sweet offerings and broken bodies remain in the borderlands—part human, part ghost, part beast, part deity serve as intermediaries between systems, transmitters of nonhuman information, and sensory channels for collective dreaming, vessels for long-suppressed fears to unravel.

This work is part of O! Great Ghost Tales (2024-), an ongoing long-term interdisciplinary project rooted in field research and visual ethnography conducted in Xiangxi, the western mountainous region of Hunan Province. The research focuses on the relationship between local rituals, marginal sensory narratives, and contemporary visual culture.

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The First Person to Disappear
&
The second person to stand and clap

Visual Anthropology, Goldsmiths
Video Essay Desktop Film
2022

The First Person to Disappear (2022) is a desktop essay film that combines online footage with archival materials about Nuwa, the Chinese Great Mother Goddess. Through this interplay of shifting narratives and evocative imagery, the film examines the harsh historical and contemporary realities surrounding women's bodies in China, while also imagining the possibilities of a queer future. This video incorporates an extensive collection of archival images and ancient ink paintings, blending with contemporary visual materials. It explores alternative ways of engaging with archives, integrating all the elements into its narrative while highlighting the connections between the past and the contemporary.
The Second Person to Stand and Clap (2023) is an auto-ethnography film that begins with an online funeral. The film explores bodily experiences in digital time and the living situation of the Chinese diaspora. This film is a desktop documentary that follows a ghostly immigrant narrative and unfolds as a family journey, in the online space where genuine intimate experiences are lacking, under the spell of digital media and the illusion of modern image representation.

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Playtime

Video Installations
Exhibition card& Catalog
, Chengdu, China
2021

Playtime (2020) extends the video work itself to physical reality, disrupting the established order. The video work developed some 'games' that can be embedded into familiar life, hidden in some urban corners. In this work, the daily disciplinary system that operates regularly in the city is transformed into a subjective, narrative experience. Under the gaze of a virtual TV show camera, the protagonist engages in a game of deconstruction and reconstruction in the urban space. Like weeds or ants, they look into the blind spots of the subjective and objective gaze, and in this way dissolve a central position. As the audience complements and enriches the dialogue with the protagonist, the narrative in the video takes the form of a fable or nightmare, lingering at the edge of the ordinary. However, in the physical after another is being played.

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The Mysterious Island

Exhibition card
Sleep Center, New York
2018

The Mysterious Island features Huiqi He’s installations that investigate the disciplinary power of space on the docile human body. The works explore a home where the subject-object relation is complicated, a set of urban architecture designed to manipulate collective behavior, and a digital “space of flows” that imposes optimal paths upon its users. Each space – whether private, public, or virtual – is machinery that challenges and rearranges the body that enters it. As the constant advancement of ever more intrusive technology continues to intensify our collective sense of alienation, the process of navigating new systems of order in everyday life is like a series of survival games on a strange island. Should one strive to reclaim the sovereignty of one’s body in such treacherous spaces?

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Bubble Zhou

Digital Game; Installation
Exhibition card
Ming Museum， Shanghai, China
2021

BubbleZhou is a video game that reflected on the identity consciousness and life experiences of the Chinese diaspora. Players wake up to an ordinary day in the game world. Their phone screen is flooded with push notifications from news apps, all about someone named BubbleZhou. As they continue their day, information about BubbleZHou pervades everything. People around them mention BubbleZhou, yet it seems no one truly knows or understands this person. As the game progresses, players collect fragments of BubbleZHou's portrait. What starts as mere speculation turns into passive involvement in the pursuit of BubbleZhou. Players find themselves immersed in the omnipresent narrative of BubbleZhou. Through the game, BubbleZhou orchestrates a public introduction of themselves in an intriguing and interactive manner.

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Ink

Workshop

CV