Spatial Narrative &
Critical Art Practice.

A critical investigation into the Xiangyunsha silk industry through a speculative lens. We interrogate the systematic erasure of human traces by modern manufacturing standards.

Moving from installations to a "Theory-Fiction Archive." We realized that merely displaying material heritage could not deconstruct the "Topo-Abstract" (The Grid) of industrial standardization.

Research Premise & Narrative Interface

Operating through the fictional persona of "Surveyor H," this ongoing project constructs a "Theory Fiction Archive" to resist the erasure of standardized time. We treat the archive as "Near-Future Sci-fi" utilizing "Diagnostic UI" aesthetics to employ speculative technologies not just as tools, but as subjects of critique.

By deploying industrial measuring instruments to "audit" river mud, we expose how modern manufacturing systematically erase human traces, proposing a "Breathing Resistance" against the Grid.

Operating as a "Transparent Archive," this work gently suspends the fluid labor of hand-woven Tai Embroidery within a precise 600mm optical glass block.

By creating a "Silent Interface" between the hand and the machine, it permanently inscribes the invisible time of the needleworker into the industrial present, offering a moment of active quietude within the urban grid.

Patented Infrastructure: Crystal

Built upon the proprietary "Crystal" structural system (Utility Model Patented). "Crystal" functions as an optical instrument to discipline the intangible flow of light.

By suspending crystal weights within a modular glass system, the work visualizes the physical tension between industrial gravity (The Grid) and ethereal illumination. It stands as an early structural inquiry into how rationality can hold poetry in a delicate, calculated balance.

[EPISTEMOLOGICAL INSTRUMENT] Solidifying the Illusory: An Encrypted Archive of the Voided Lake.

This work operates as a "Speculative Archive," materializing geographically non-existent lakes—sourced from global mythology—into laser-engraved glass spheres. Confined within a hermetic, industrial transport unit, these "Negative Geographies" are forced into a rigid administrative grid.

The final, empty sphere functions as a "Dormant Coordinate," signaling that the mapping of the imaginary is a perpetually unfinished project.

[EPISTEMOLOGICAL INSTRUMENT] The Conscious Co-Author: Parallel Lines and the Cosmic Point.

Responding to the geometric axiom that "two non-parallel lines determine a point," this work presents two identical parallel structures. While the first targets Infinity (∞), the second is textually redirected to the Lunar Orbit, creating an intersection through inscription.

This act of Topolexia asserts that language possesses the gravity to bend objective geometry, defining a destiny for lines designed to never meet.

"Never Landing with a Butterfly" investigates the "Territorial Paradox" of digital interaction. Commissioned for the UABB (Shenzhen), this work serves as a critique of the anthropocentric drive to consume presence. In a typical interactive environment, closeness rewards the viewer; here, proximity triggers withdrawal.

The installation functions as a "Biological Buffer." By integrating a mechanical sensor with a steel-winged butterfly, the system measures the intrusion of the human body. When the booth door opens, the butterfly is forcibly launched into a state of "Never Landing"—a perpetual flight that only ceases once the human agent retreats and the threshold is restored.

This "Negative Feedback Loop" forces a re-evaluation of the viewer's role: from a dominant observer to a disruptive presence. The butterfly, a hand-welded industrial specimen, records the friction between machine-logic and organic vulnerability, turning the act of looking into an act of displacement.

[DIGITAL EXCAVATION] The process begins with the algorithmic translation of a fluid cultural form into a rigid digital voxel. We treat the modeling space as a virtual quarry.

[THE INDUSTRIAL FOSSIL] The Delineation of Material Time. Functioning as a "Machinic Fossil," this work utilizes CNC milling to forcibly standardize a raw metal block into a 60mm industrial cube.

By algorithmically excavating a traditional Guqin Knot, it constructs a "Topological Simulacrum," critiquing how the Grid calcifies fluid cultural memory into rigid, cold geometry.

[Systemic Containers] The Counter-Narrative: A Cybernetic Inscription of Resilience.

Recognized as a "Key Project" by Central Saint Martins (2019 Official Selection & Interview) and subsequently iterated for a Shenzhen solo exhibition (2023), this kinetic assembly serves as the methodological prototype for our cyber-physical practice.

It functions as a transducer, translating the ephemeral bio-rhythm of a fading cherry blossom into a repetitive mechanical strike against raw fluorite. It is an early experiment in using industrial hardware to inscribe organic decay into geological time.

Reference: Ephemeral Bio-rhythm (Cherry Blossom)

"Crystal" functions as an optical instrument designed to discipline the intangible flow of light through Newtonian gravity. By suspending precision-cut crystal weights within a modular glass system, the work visualizes the physical tension between the "Systemic Grid" and ethereal illumination.

Establishing a dialogue between the "Abstract Rule" and the "Physical Leib," this system transforms the act of lighting into a spatial performance. It rejects the lamp as a mere object, redefining it as a "Structural Interface" that close-reads the architectural volume it inhabits.

As the foundational research for the Topolexia framework, this patented system investigates how rationality can hold poetry in a calculated balance, marking the unit's first successful attempt to operationalize "Systemic Tension."

Functioning as the methodological precursor to our current RAG corpus curation, this 6-year longitudinal auto-ethnography (2020-Present) extracts unstructured data from the domestic sphere. Rejecting the sentimentality typically associated with "family diaries", it subjects intimate, localized labor to a clinical secondary translation. It is an ongoing textual infrastructure that permanently archives the somatic friction between female endurance and hyper-dense urban constraints.

The Domestic Sphere as a Micro-Lab: Spanning six years, this inquiry prefigures Topolexia's core concern. The domestic sphere is not treated as a private refuge, but a high-density micro-lab. It audits sensory justice, observing how the "Lived Body" navigates and resists structural constraints.

Topolexia is a critical discipline that redefines space not as a static container, but as an active "Ecological Palimpsest". It investigates how the Lived Body (Leib) inscribes memory and resistance onto the rigid infrastructure of the Systemic Grid.

We reject the traditional monistic approach where theory merely explains practice. Instead, we establish a methodology of Recursive Iteration driven by a "Dialectical Tension" between the Lived Body and the Theoretical Grid.

[ DIAGRAM: TOPOLEXIA FRAMEWORK ]

Topo-Lived / Topo-Abstract / Topo-Physical Recursive Loop.

Duo Synergy:
The Architecture of Productive Betrayal

Liying Hu (Artist): Practice as Catalyst. Drawing from an industrial background (Tencent/Harman), she produces phenomenological evidence—ranging from concrete interventions to speculative archives—that provides the "raw body" preceding definition.

Yingyi Hu (Researcher): Theoretical Articulation. Acting as the structural philosopher, she construct the textual architecture for the unspeakable. By mapping subtexts of labor and memory onto physical materials, she generates the necessary "parallax".

[ DIAGRAM: THE ARCHITECTURE OF PRODUCTIVE BETRAYAL ]