Huaniao Art Island


Ourania(Rani) Amvrazis
The Tension between is a site-specific installation explores the tensions inherent with establishing and growing a new economy, through cultural tourism, and the impact on the people and the environment – what can be lost and gained with the development.
Rory Daniel
Tears of Blue attempts to re-imagine the human body as another lifeform. Something organic, mysterious, and almost unrecognisable. It juxtaposes these imaginary creatures with microscopic views of Noctiluca Scintillans, the bioluminescent algae that glow in the sea around the island. Being neither plant nor animal, the algae offer a point of contemplation against what it means to be human, and what it means to be an animal.
Bixiao(Frankie) Zhang
Using digital communication technology as literal “medium”, this generative art project “Lost wind of the flower birds” experiments with presentification of the intangible past from Hua Niao Island. Using the generative AI’s “imagination” to open hidden fields and lost narratives from tangible traces at the site, letting the digitally imagined landscape act as the prosthetic arm to time’s lost limb.
Yongping Ren
Everyone will experience a rebirth from the ashes at some time in their life. During the Covid-19 pandemic, the world may feel like a rebirth from the ashes. We have more time to rethink about ourselves, others, our nature. This artwork will open this history that cannot be forgotten in the form of a Chinese painting scroll. The video combined graffiti from Melbourne city watch house and Guqin Master piece “Flowing Stream” performed by Zhang XinYu.
Neryhs Wo
ʻ逍遙ʼ, meaning free and unfettered, utterly carefree, in English. The expression is originally from an ancient Chinese book called ‘Zhuangzi’ written by the famous Chinese philosopher/writer, Zhuang Zhou. 逍遙 is the highest stage of freedom in one’s mentality. Carrying no burden in mind, having no troubles with the outer world, owning a peaceful relationship with oneself and anything else.
Yan Wang
Daily Catch is a site specific photographic project exploring found take away food inside plastic bags to explore the cultural connotations and food relationship with female identity. Using scan-ography, the artist investigates both the habitat of food and its relation to the culture of using single use plastic bag containers in contemporary China. The images result in unsettling, abstract, larger than life size photographic prints making visible mundane materials and the environmental impacts of food waste.
Mee-Yee Chan(Clara)
The symbionts (children of compost) are born as my response to Haraway’s call for “collaborative and divergent story-making practice” in her Camille Stories. They act as a kind of bodily enhancement or mode of sensation enabling us to experience universe, and collectively transform the ruined universe by imagination and proposition of stories.
Qiu Ruiqi
Warrior Tattoo is a visual art project composed of photographs, a video and a poem. This work aims to honor the female identity and to respect the possibilities of gender. I chose to tattoo female organs (womb, vulva, and breasts) on an Asian woman’s portrait that implies my race and female identity to encourage female individuals to reflect their female experience.
Haoran(Renee) Yuan
“I See the Clouds of September'' is a poetic photography project produced during the Covid-19 Stage 4 lockdown period in Melbourne. The project features a framework of affect-trauma in relationship under the context of COVID-19 pandemic, describes solitude and a sense of neutral distancing attitude between self-consciousness and social connection.
Ruijia(Grace) Fan
Knotting is an ancient way of transmitting information, which was once a very effective way of recording events and exchange information before people learned to use language and words. The project aims to documents a series of stories about the island's indigenous people, especially the fishermen, and their connection to their homeland.
Annike 孙冬晨
The aging of the islanders on the island is very serious. Since 1998, the population of Shengsi Islands has been showing negative growth. According to the 2020 census, more than 31.3% of residents are over 60 years old. Their children left Huaniao island to study, work, get married, and have children, yet they still stay on the island and continue their traditional way of life. They are the witnesses of the historical changes of Huaniao island and the spreaders of traditional culture.