YIHAO LI
© Yihao Li 2025. All rights reserved.Untitled (Somatic Circuit)
Untitled (Somatic Circuit) presents a complex and evocative installation that bridges the intersection of anatomy, material literacy, and conceptual exploration. The assemblage of materials—including organic elements, mechanical components, and digital elements—creates a compelling narrative about the human body, its cultural representations, and the intricate interplay between nature and technology.
Untitled (Symbiosis)
Untitled (Symbiosis) explores organic and mechanical elements, merging them into a singular, striking form. The work's central feature—a spine-like structure composed of dark, textured materials—evokes a powerful sense of fragility and resilience. The organic appearance of this structure, combined with the wires that cascade from its base, suggests a connection between natural forms and technological interfaces, creating a dialogue between the body and the machine.
Untitled (Intestines)
Untitled (Intestines) is a dynamic exploration of form, movement, and spatial interaction, reflecting the intricate and organic nature suggested by its title. The piece challenges traditional boundaries between two-dimensional and three-dimensional art and uses sleek metallic coils, angular wooden elements, and a minimalist colour palette.
Untitled (The Separation of Land and Water)
Untitled (The Separation of Land and Water) is a dynamic exploration of form, movement, and spatial interaction, reflecting the intricate and organic nature suggested by its title.
Untitled (Please Sit On)
Untitled (Please Sit On) is a work composed of broken or outdated objects. The materials for the work include bamboo skewers, decaying traditional Chinese chairs, broken tyres, stainless steel tubes, and coins. Among these discarded objects, I use the wooden chairs and stainless steel tubes as the framework of the installation, stacking them extremely temporarily, barely maintaining balance. This unstable structure is held in place by stretching the ties, creating an incredible sense of tension. The objects rely on the tension to gain temporary stability in a near-tilted state, creating a sense of the grotesque.
Untitled (A Tree Without Roots)
The installation is about reflecting on my identity. I thought my “roots” should be in the countryside and the mountains, but now my life in a foreign country seems to have made me a “rootless tree” in which I can't return to my hometown or integrate into other places, looking for a place to stay between the concrete and steel gaps in a small town. The original concept of the work was to reconstruct a monument to my spiritual home from the materials used to build my real home.