Yitao Huey Hu

Sculpture (MA)
A black and white picture of Yitao Hu
‘Of Hooves and Bleating’ This figure—situated between sheep and system—gestures toward a biocybernetic conception of the body
‘Of Hooves and Bleating’ This figure—situated between sheep and system—gestures toward a biocybernetic conception of the body
’Of Hooves and Bleating‘ up to 330 cm (adjustable), width – 130 cm, and length – 250 cm.The height is flexible Iron pipes, PVC water pipes, wire mesh, clay, cotton, and acrylic paint.
‘Of Hooves and Bleating’ This figure—situated between sheep and system—gestures toward a biocybernetic conception of the body
‘Of Hooves and Bleating’ This figure—situated between sheep and system—gestures toward a biocybernetic conception of the body
’Of Hooves and Bleating‘ up to 330 cm (adjustable), width – 130 cm, and length – 250 cm.The height is flexible Iron pipes, PVC water pipes, wire mesh, clay, cotton, and acrylic paint.
‘Of Hooves and Bleating’
‘Of Hooves and Bleating’
Detail of 'Of Hooves and Bleating'
‘Of Hooves and Bleating’ A photo about two sheep
‘Of Hooves and Bleating’ A photo about two sheep
Of Hooves and Bleating Photography variable dimensions
‘Of Hooves and Bleating’ This figure—situated between sheep and system—gestures toward a biocybernetic conception of the body
‘Of Hooves and Bleating’ This figure—situated between sheep and system—gestures toward a biocybernetic conception of the body
‘Of Hooves and Bleating’
‘Of Hooves and Bleating’ A photo about two sheep

About

Yitao Huey Hu is a London-based artist currently pursuing an MA in Sculpture at the Royal College of Art. His artistic

practice interrogates the tensions between control, memory, and space-time, often rooted in lived experience and intuitive

responses to the mundane. Through fragmented spatial constructions and the assemblage of heterogeneous materials,

Hu articulates affective states that resist linguistic articulation, generating a perceptual field suspended between instability

and indeterminacy.

Art functions as a mode of inquiry into both individual consciousness and broader socio-political anxieties. Rejecting

modernist ideals of formal resolution or aesthetic perfection, he embraces uncertainty, ambiguity, and the unfinished as

integral components of his creative methodology. Rupture and incoherence become operative strategies—portals through

which lived experience and existential questioning might emerge. At the core of his practice lies a persistent interrogation:

What is the relationship between the individual and art? And is any of this truly real?

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