huiyin zhou徽音

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	<title>huiyin zhou徽音</title>
	<link>https://huiyinzhou.com</link>
	<description>huiyin zhou徽音</description>
	<pubDate>Sat, 07 Feb 2026 21:05:21 +0000</pubDate>
	<generator>https://huiyinzhou.com</generator>
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		<title>Home</title>
				
		<link>https://huiyinzhou.com/Home</link>

		<pubDate>Sun, 03 Dec 2023 03:50:57 +0000</pubDate>

		<dc:creator>huiyin zhou徽音</dc:creator>

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		<title>Information</title>
				
		<link>https://huiyinzhou.com/Information</link>

		<pubDate>Sun, 03 Dec 2023 03:50:57 +0000</pubDate>

		<dc:creator>huiyin zhou徽音</dc:creator>

		<guid isPermaLink="true">https://huiyinzhou.com/Information</guid>

		<description>contact: huiyin -dot- zhou01 -at- gmail -dot- cominstagram: @huiyin.zhou
Short Bio
Born and raised in the industrial hub of Dongguan, China, huiyin zhou 徽音 (they/ta/她) is a transnational queer feminist organizer and community-based photographer, writer, multimedia artist and cultural producer. A diasporic bird constantly up- and re-rooting themselves, they are currently based in Durham, NC. They work with digital and analog photography, text, installation, and performance with a relational, reciprocal praxis. Creating with intimate and tender sensibilities, huiyin explores themes related to queer feminism, intimacy, memory, diaspora, and community building. 
huiyin co-founded and co-directs Chinese Artists and Organizers (CAO) Collective离离草. They are currently an advisory circle member and resident artist at Queen Street Magic Boat, a surrealist artist-led space. They also work as a curator at NorthStar Church of the Arts. huiyin graduated summa cum laude (B.A., Cultural Anthropology) from Duke University.They have been awarded fellowships and residencies at Vox Populi, The Luminary, Pedantic Arts, CulturePush, Los Angeles Contemporary Exhibitions (LACE), Durham Art Guild, The Seventh Wave, and BRIClab. Find their work at: positions: asia critique, The Seventh Wave, Scholar &#38;amp; Feminist Online, The Common, Tupelo Quarterly, Apogee, Irrelevant Press, Massachusetts Review, Cha: An Asian Literary Journal. huiyin’s 300-page prose collection 北极时间 was published by Shanghai Lit &#38;amp; Art Press in 2019. huiyin’s work has been supported by South Arts, Creative West, Lower Manhattan Cultural Council, SEEK Raleigh, Queens Art Fund, Foundation for Contemporary Arts, New Breath Foundation, Snapdragon Fund, and many arts foundations &#38;amp; organizations.
&#38;nbsp;
Artist Statement/Statement of Practice (Updated 11/18/2025)
I am a photographer, writer, and cultural organizer hailing from the industrial hub of Dongguan, China, currently based in Durham, NC. A child of migrants in a Cantonese speaking region, my creative practice was seeded alongside migrant worker poets who use their art to witness the nuances of migration, globalization, and home-making. My experiences living and languaging in borderlands and marginalized spaces shaped my strong interests in diasporic memory, queer kinship, care infrastructures, and relational building. My cross-disciplinary work weaves photography, writing, calligraphy, performance, installation, and community organizing. 

With backgrounds in Cultural Anthropology, ethnic studies, and organizing, my creative practice is community-oriented. In 2022, I co-founded and currently co-direct the Chinese Artists and Organizers (CAO) Collective离离草. We are a queer feminist transnational group focused on social practice art and produces community-engaged programming. For studio practice, I am co-conspirating at Queen Street Magic Boat, a surrealist artist-led cultural hub in downtown Durham. I also work as a freelance curator, facilitator, and photographer with organizations such as The Seventh Wave, NorthStar Church of the Arts and WUNC Public Radio.&#38;nbsp;

In my photography, I am particularly interested in text-image relationships. I often incorporate handwriting, collage, poetry, and other forms to construct layers of meanings and portals. Photography, for me, is a tender form of mutual witnessing and intimate relationship building. I hope to use my art as a vessel, reimagining embodied pathways to healing and transformation.&#38;nbsp;
My bilingual writing has been living and expanding in my journals, scrambled google docs, and conversations with my friends and family. I am writing from a place of protection and honoring the privacy my heart desires. You can also find published work at positions: asia critique, The Seventh Wave, Scholar &#38;amp; Feminist Online, The Common, Tupelo Quarterly, Apogee, Irrelevant Press, Massachusetts Review, Cha: An Asian Literary Journal, Sine Theta Magazine, and unCoVer Initiative. Occasionally, I share on my substack and newsletter.&#38;nbsp;My current focus is on a photo-writing book project From South to South 从南方到南方.As part of my public facing praxis, I’ve been invited to speak, perform, or teach at cultural and academic institutions, such as Squeaky Wheel, Artspace, Feminist Center for Creative Work, Duke University’s Center for Documentary Studies, Claremont Colleges, UC Irvine, AWID Global Feminist Forum, alpha nova &#38;amp; galerie future, and more. My work has been supported by grants and awards from New York Foundation of Art, Snapdragon Fund, Foundation for Contemporary Arts, SEEK Raleigh, New Breath Foundation, and more. I’ve also received fellowships and residencies at BRIClab: Contemporary Art, Culture Push, The Seventh Wave, Pedantic Arts, The Luminary, and Durham Art Guild.


I hold a B.A. in Cultural Anthropology, Asian American &#38;amp; Diaspora Studies, and Documentary Studies from Duke University.
headshots

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photo by&#38;nbsp;Danny Peña @pen_yah, Durham Art Guild, Durham, NC

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photo by Laura Dudu, Sept 2024, Brooklyn NYC


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with creative partner Laura Dudu, photo by Toby Tenenbaum, BRIC House Gallery


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photo by Toby Tenenbaum, April 2024, BRICLab Contemporary Art studio</description>
		
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		<title>Milk Dreams</title>
				
		<link>https://huiyinzhou.com/Milk-Dreams</link>

		<pubDate>Sat, 07 Feb 2026 21:05:21 +0000</pubDate>

		<dc:creator>huiyin zhou徽音</dc:creator>

		<guid isPermaLink="true">https://huiyinzhou.com/Milk-Dreams</guid>

		<description>Read digitally:
https://online.fliphtml5.com/huiyinzhou/kjpb/polaroid, tracing paper, collage, handwriting
20pg, 5.5 x 8.5 inches
self published, Feb 2026
1st edition of 50
printed on cardstock paper with Joey Behrens of (__)
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</description>
		
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		<title>gradients of memory</title>
				
		<link>https://huiyinzhou.com/gradients-of-memory</link>

		<pubDate>Tue, 18 Nov 2025 20:34:24 +0000</pubDate>

		<dc:creator>huiyin zhou徽音</dc:creator>

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		<description>gradients of memory &#124; 记忆过渡

work in progress (2023-2026)35mm film photography &#38;nbsp;related writing: substack
水是无界的。在每一次流动、蒸发、转化中，水又不断地画着流动的地图。水承载着记忆 —— 陪外婆散步的河边、妈妈家乡废弃的木墩岛和洪泽湖里丰盈的莲蓬、小时候和爸爸一起写书法春联的运河岸，还有北卡和广东一样的湿热的雨季。

每次回/离家，我都要坐船往返虎门南沙港和香港。我常常看着窗外，身体随着波浪拍打着船舱而摇晃着。有朋友问我为什么水是我作品中一个常常出现的意象。我回答，“when i’m on the water, I'm nowhere yet everywhere.” （当我在水上的时候，我不属于任何地方，却又无处不在）。那50分钟的船程，是时空和记忆的悬置，就像每一次回归也是别离。绿色、银色、水银色、在日出下闪烁着淡淡金光的珠江水，和玻璃里折射出的我的脸重叠。

一个人在海外工作生活几年，对家乡的记忆也有些许褪色，像是亚热带的湿气蒙住了胶片。可是从小，我也是不会说粤语的“外地人”。家在哪里，是一个永恒的命题。如果我们都是永远的异乡人和记忆的过客，是否郁结在胸口的乡愁，也可以像水一般，或朦胧或汹涌地流动。

”gradients of memory &#124; 记忆过渡“ 是我2023-24年三次回国期间关于水的日志。它们记录了我和家人一起见证的不同形态的水的身体——大海，河流，湖泊，小溪，和它们承载着的我们。在整理这些照片的时候，泪水涌入腮帮子，是一股酸涩又回甘的滋味。

我仿佛还能尝到临行前外婆五点起来做的、仓促间有些夹生的韭菜盒子，和爸爸一起嗦的牛肉面，和妈妈塞到我手里的几个柑橘。

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</description>
		
	</item>
		
		
	<item>
		<title>辫 (biān) / 彼岸 (bǐ àn)</title>
				
		<link>https://huiyinzhou.com/bian-b-an</link>

		<pubDate>Wed, 27 Aug 2025 15:40:10 +0000</pubDate>

		<dc:creator>huiyin zhou徽音</dc:creator>

		<guid isPermaLink="true">https://huiyinzhou.com/bian-b-an</guid>

		<description>辫 (biān) / 彼岸 (bǐ àn）
— “for those of us who live at the shoreline”(Audre Lorde, A Litany for Survival)
huiyin zhou + Laura Dudu
“辫（biān）” means to braid. “彼岸（bǐ àn）” literally translates as “the shore across,” but in Buddhism it also means another world — one reached through transcendence. The two words share the same syllables in Chinese, but differ in tone and meaning. The latter almost inhales a pause — in between — like the crossing itself: the shore, the arrival/ departure, the liminal space. That moment of transcendental suspension, like a plane pausing briefly on the runway between landing and takeoff. Both wor(l)ds gesture toward transformation through encounters. Like the act of grafting in agriculture, this exhibition, rather than telling, wants to meet.

Through photography, family archives, ephemera, writing, collage, installation, and participatory art, 辫（biān) /彼岸（bǐ àn）embraces both the artists and their works as at once the shore and the water. The standing shores — individual legacies of (im)migration and wars their families endured — are braided by tender waters: the intimacy and care they share as collaborators and chosen family.

Here, the boundary between land and water is not fixed. The shoreline is never static nor linear, but cared with fluidity: wave, water, crossing, merging. When we look closely, it touches our feet — tickling, grounding. When we gaze from afar, it becomes the horizon. A space of transcendence. Of becoming.
On View: August 1 - September 28, 2025, Gallery One, ArtspaceExhibition Page&#38;nbsp;https://artspacenc.org/shorelines/This project was supported, in part, by a Foundation for Contemporary Arts Emergency Grant.&#38;nbsp;Related Programming
First Friday + Exhibition Opening – FRI August 4, 4-10pm, free
Artist Tour – SAT August 30, 1-3pm, free
First Friday – FRI September 5, 4-10pm, free
Threading Memories: Text &#38;amp; Image as Creative Archiving – SAT September 20, 1-4pm (ticketed)
Artist Talk + Closing Reception – SAT September 27, 4-7pm, free
Gallery Guide (designed by huiyin &#38;amp; Laura)&#38;nbsp;here.
Exhibition Pamphlet (designed by Artspace)&#38;nbsp;here.&#38;nbsp;
The hexcode of the “Lotus” shade is #E6BDBD.


Installation views
&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/9ceea062c3ce3bdf8c911965b64eac229ebae6c564f18b36ffb52b8b541199b9/0-Entrance-View_bian--bi-an-.jpg" data-mid="238130605" border="0"  src="https://freight.cargo.site/w/1000/i/9ceea062c3ce3bdf8c911965b64eac229ebae6c564f18b36ffb52b8b541199b9/0-Entrance-View_bian--bi-an-.jpg" /&#62;&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/2e2543f02d69902b9d1295dc0a404a24755efdb1b00e2b8eb847478893dd5f38/1-2_corner-view-259A9223.jpg" data-mid="238130608" border="0"  src="https://freight.cargo.site/w/1000/i/2e2543f02d69902b9d1295dc0a404a24755efdb1b00e2b8eb847478893dd5f38/1-2_corner-view-259A9223.jpg" /&#62;&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/81e3d6d0d066d2de784a5b2d0a9953eaa64b17d3a6d80b90ede663277ae81653/1-2-corner-full-view.jpg" data-mid="238130606" border="0"  src="https://freight.cargo.site/w/1000/i/81e3d6d0d066d2de784a5b2d0a9953eaa64b17d3a6d80b90ede663277ae81653/1-2-corner-full-view.jpg" /&#62;&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/69a89e884e7631bd5fee4d79bd7134f5676008f92d158148d2fe32e66d616542/0-entry-corner-view-2.jpg" data-mid="238177795" border="0"  src="https://freight.cargo.site/w/1000/i/69a89e884e7631bd5fee4d79bd7134f5676008f92d158148d2fe32e66d616542/0-entry-corner-view-2.jpg" /&#62;&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/86c279ce26245c825eadcc6cf52744221f3ab725b3eda6a330937783e34606db/3--4--5_brick-wall-view.jpg" data-mid="238130609" border="0"  src="https://freight.cargo.site/w/1000/i/86c279ce26245c825eadcc6cf52744221f3ab725b3eda6a330937783e34606db/3--4--5_brick-wall-view.jpg" /&#62;&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/5cadb2fc2d9111953546fe4e905da0240c539bffded802f2412303aaff966790/6--hui--return-2025_huiyin-zhou---Laura-Dudu-259A9276.jpg" data-mid="238130642" border="0"  src="https://freight.cargo.site/w/1000/i/5cadb2fc2d9111953546fe4e905da0240c539bffded802f2412303aaff966790/6--hui--return-2025_huiyin-zhou---Laura-Dudu-259A9276.jpg" /&#62;
&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/569e781687196a56284473f66880b8878981cc3a5ccad3b9a32f2ebd8232ba05/3--7--8_brick-wall-view.jpg" data-mid="238130658" border="0"  src="https://freight.cargo.site/w/1000/i/569e781687196a56284473f66880b8878981cc3a5ccad3b9a32f2ebd8232ba05/3--7--8_brick-wall-view.jpg" /&#62;
&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/10ebb2d16ef95beba495d1417de6231a605946cd0e501a160c21ad2d3f2d5b48/9-bornraw_Laura-Dudu_view-with-seating.jpg" data-mid="238130632" border="0"  src="https://freight.cargo.site/w/1000/i/10ebb2d16ef95beba495d1417de6231a605946cd0e501a160c21ad2d3f2d5b48/9-bornraw_Laura-Dudu_view-with-seating.jpg" /&#62;&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/33cd3aa6eb614bf1cc173d87bce0f1865392f010b37a00d8e2bb3f3b6b01d608/10-publications_259A9204.jpg" data-mid="238130637" border="0"  src="https://freight.cargo.site/w/1000/i/33cd3aa6eb614bf1cc173d87bce0f1865392f010b37a00d8e2bb3f3b6b01d608/10-publications_259A9204.jpg" /&#62;&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/fb34a8e6a0fdef5892f03feca943995ebc56aaeed5a5b134287f33215b4ed16f/0_info-table.jpg" data-mid="238177782" border="0"  src="https://freight.cargo.site/w/1000/i/fb34a8e6a0fdef5892f03feca943995ebc56aaeed5a5b134287f33215b4ed16f/0_info-table.jpg" /&#62;&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/c370cf7c9323a857595ed8584726a1d1a035230388cfa4cb0680f72e6da7c6bf/0_leave-a-message_guest-book.jpg" data-mid="238177783" border="0"  src="https://freight.cargo.site/w/1000/i/c370cf7c9323a857595ed8584726a1d1a035230388cfa4cb0680f72e6da7c6bf/0_leave-a-message_guest-book.jpg" /&#62;


Artworks included
1&#38;nbsp;
i look at my body and then i see u (2025)
huiyin zhou &#38;amp; Laura Duducollage, installation, polaroid, printed photography (various sizes), wooden frame, nail

a contemplation on intimate bod(ies) and the layered act of seeing: to see, to be seen, to be taken, to be taken in, to witness, to be. what does it mean to photograph someone? what emerges when we put these images on display – blurrying the boundaries of living and performance, of what is shown and what refuses to be seen?

created during the artists’ travels in Bangkok, Thailand and Dongguan, China (2024–2025), this work searches for intimate murmurs of trust, friendship, and vulnerability amidst constant movement and geopolitical uncertainty.


&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/175003c37fa62e927de25694f1a6d7e54807b45224c83feb4ca7bce7a903244b/1--i-look-at-my-body-and-then-i-see-u-2025_huiyin-zhou---Laura-Dudu.jpg" data-mid="238167500" border="0"  src="https://freight.cargo.site/w/1000/i/175003c37fa62e927de25694f1a6d7e54807b45224c83feb4ca7bce7a903244b/1--i-look-at-my-body-and-then-i-see-u-2025_huiyin-zhou---Laura-Dudu.jpg" /&#62;
&#60;img width="6774" height="4492" width_o="6774" height_o="4492" data-src="https://freight.cargo.site/t/original/i/23979b65f6a829768aac91c859e9632b0d8f351c856e96d545181df6a1eafa3b/keep-this-between-us2.JPG" data-mid="237546520" border="0"  src="https://freight.cargo.site/w/1000/i/23979b65f6a829768aac91c859e9632b0d8f351c856e96d545181df6a1eafa3b/keep-this-between-us2.JPG" /&#62;
&#60;img width="4641" height="3188" width_o="4641" height_o="3188" data-src="https://freight.cargo.site/t/original/i/d500546e61f4cca54aafd0d7b565b88d70586103848aa4e72fa4fe2c6ab3beff/000035.jpeg" data-mid="237546500" border="0"  src="https://freight.cargo.site/w/1000/i/d500546e61f4cca54aafd0d7b565b88d70586103848aa4e72fa4fe2c6ab3beff/000035.jpeg" /&#62;
&#60;img width="4337" height="5245" width_o="4337" height_o="5245" data-src="https://freight.cargo.site/t/original/i/c3fb78420473ca55741c3bda659174383b3b0530c40755b9c5cad906ad832cb6/20241222_038-polaroid-in-Dongguan.jpeg" data-mid="237546463" border="0"  src="https://freight.cargo.site/w/1000/i/c3fb78420473ca55741c3bda659174383b3b0530c40755b9c5cad906ad832cb6/20241222_038-polaroid-in-Dongguan.jpeg" /&#62;
&#60;img width="6774" height="4492" width_o="6774" height_o="4492" data-src="https://freight.cargo.site/t/original/i/cf3cabf79462c086af4c48628ff6e2c512b369a2c0319cd6bd1a3f27901cbfeb/keep-this-between-us1.JPG" data-mid="237546519" border="0"  src="https://freight.cargo.site/w/1000/i/cf3cabf79462c086af4c48628ff6e2c512b369a2c0319cd6bd1a3f27901cbfeb/keep-this-between-us1.JPG" /&#62;
&#60;img width="4173" height="5007" width_o="4173" height_o="5007" data-src="https://freight.cargo.site/t/original/i/22409b790c7bc4372a231d9f38349421e8edb4768404bca55471041f771d2e91/img257.jpeg" data-mid="237548311" border="0"  src="https://freight.cargo.site/w/1000/i/22409b790c7bc4372a231d9f38349421e8edb4768404bca55471041f771d2e91/img257.jpeg" /&#62;
&#60;img width="4189" height="5007" width_o="4189" height_o="5007" data-src="https://freight.cargo.site/t/original/i/8c7b9a6025fa6fc70ab8987e31704e709585c806ece26b4374aa229133f00ff8/laura-dudu-dec-2024-polaroid-by-huiyin-zhou.JPG" data-mid="237677236" border="0"  src="https://freight.cargo.site/w/1000/i/8c7b9a6025fa6fc70ab8987e31704e709585c806ece26b4374aa229133f00ff8/laura-dudu-dec-2024-polaroid-by-huiyin-zhou.JPG" /&#62;
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&#60;img width="4492" height="6774" width_o="4492" height_o="6774" data-src="https://freight.cargo.site/t/original/i/0b360bb95994906f38cd07ad7fcd459afdb09b55fce582217639912e78826952/000360480031.jpeg" data-mid="237548317" border="0"  src="https://freight.cargo.site/w/1000/i/0b360bb95994906f38cd07ad7fcd459afdb09b55fce582217639912e78826952/000360480031.jpeg" /&#62;
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&#60;img width="4641" height="3188" width_o="4641" height_o="3188" data-src="https://freight.cargo.site/t/original/i/6941177ff2dbb4e20f503992820a91094bf73ccdd0de60918f66139267829668/000003.jpeg" data-mid="237546388" border="0"  src="https://freight.cargo.site/w/1000/i/6941177ff2dbb4e20f503992820a91094bf73ccdd0de60918f66139267829668/000003.jpeg" /&#62;


2
biān 边 frame / border (2025)
huiyin zhou &#38;amp; laura dudu
collage, installation, wooden frame, nail, printed photography (various sizes)biān 边 in Chinese can denote a border, a frame, an edge.
it speaks to a life lived across borders—nations, shorelines, thresholds. 边 breathes with gravity: the pull of departure, the ache of leaving, and the yearning for intimacy. the frame, no longer a boundary of separation, now floats — becoming a symbol of buoyancy, bubbling with dreamlike encounters that emerge in transitional spaces – of sky, water, and our bodies. looking from blurry edges of home, 边 invites dialogue with what can be captured and what might escapes the frame of memory. 


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&#60;img width="6774" height="4492" width_o="6774" height_o="4492" data-src="https://freight.cargo.site/t/original/i/e1be4db7a98246b899be47d23dc700f4db85aeedd3a761c54988b576252b4460/000254820018.jpeg" data-mid="237546492" border="0"  src="https://freight.cargo.site/w/1000/i/e1be4db7a98246b899be47d23dc700f4db85aeedd3a761c54988b576252b4460/000254820018.jpeg" /&#62;


3
féng 逢/缝 be-twined  (2023)
huiyin zhou &#38;amp; laura dudu &#38;amp; CAO Collective
scans of hand-painted 16mm films, 12 x 16 in frames
 
féng means to encounter. 缝 féng means to stitch. created in 2023 through a workshop led by Laura and huiyin, joined by three Asian diasporic queer feminists and community friends. the process began with a guided somatic breathing exercise on healing. from there, the group entered the space to explore the homes we have lost and are contuining to build; grief, encounter, and the many stages of loss. 

each participant worked on one section of the film, using 16mm frames (the size of a pinky nail, 0.404 in × 0.295 in), later enlarged 40 times. the final work reveals intricate details—five distinct sets of strokes and writings—each carrying the mark of a different hand, a different grief.

&#60;img width="4608" height="3456" width_o="4608" height_o="3456" data-src="https://freight.cargo.site/t/original/i/b89034ddae76743a0e31fa7ce4b99ccb08f672b7b3701349a8773041c687f9b3/P2610035-copy.JPG" data-mid="238175280" border="0"  src="https://freight.cargo.site/w/1000/i/b89034ddae76743a0e31fa7ce4b99ccb08f672b7b3701349a8773041c687f9b3/P2610035-copy.JPG" /&#62;
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&#60;img width="4608" height="3456" width_o="4608" height_o="3456" data-src="https://freight.cargo.site/t/original/i/04efd154024178036e341d4fe16f71e8c6449ec2577ab4059fc9ebd99c2b47a3/16mmgroupA8.JPG" data-mid="238175277" border="0"  src="https://freight.cargo.site/w/1000/i/04efd154024178036e341d4fe16f71e8c6449ec2577ab4059fc9ebd99c2b47a3/16mmgroupA8.JPG" /&#62;


4 tiny garden; 5 tendering water

from waipo’s hands (learning to love my grandmother) series (2025)
huiyin zhou

&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/09f1479d97903dbdba266a9a868807a5ec893175773c10f9c375ed5470b13d15/4_tiny-garden_from-waipo-s-hands-series_huiyin-zhou259A9287.jpg" data-mid="238130613" border="0"  src="https://freight.cargo.site/w/1000/i/09f1479d97903dbdba266a9a868807a5ec893175773c10f9c375ed5470b13d15/4_tiny-garden_from-waipo-s-hands-series_huiyin-zhou259A9287.jpg" /&#62;
&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/87c4a5c9cdfa84b9c431dfc8cc687536a7d94194dc14c048237e92697f885fd9/5_tendering-water_from-waipo-s-hands-series_huiyin-zhou_259A9288.jpg" data-mid="238130615" border="0"  src="https://freight.cargo.site/w/1000/i/87c4a5c9cdfa84b9c431dfc8cc687536a7d94194dc14c048237e92697f885fd9/5_tendering-water_from-waipo-s-hands-series_huiyin-zhou_259A9288.jpg" /&#62;

6
回 huí / return (2025)
huiyin zhou &#38;amp; laura dudu

回(huí) means “to return.” The work uncarves the chinese characters using a photo and a matting board taken from a photo frame. 

the character is composed of two rectangles – 口 – two mouths, two homes, yet also a maze with no clear entry or exit. huiyin and Laura wrote across the matting board of a frame, beginning from opposite ends to meet each other’s words in an act of encounter. inside, a photograph shows a hand hovering just above the surface of the water—taken beside a Buddhist temple (Longmen Grottoes) in Luoyang, China, now weathered by war and natural decay. 

the hand reaches toward the reflection of a world we believed to be real. the water’s surface—a version of perceived-reality, also a mirage of a dream—ponders: is home still home upon return?


&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/5cadb2fc2d9111953546fe4e905da0240c539bffded802f2412303aaff966790/6--hui--return-2025_huiyin-zhou---Laura-Dudu-259A9276.jpg" data-mid="238130642" border="0"  src="https://freight.cargo.site/w/1000/i/5cadb2fc2d9111953546fe4e905da0240c539bffded802f2412303aaff966790/6--hui--return-2025_huiyin-zhou---Laura-Dudu-259A9276.jpg" /&#62;

For Laura’s works &#38;amp; publications on shelves, please refer to&#38;nbsp;Gallery Guide (designed by huiyin &#38;amp; Laura) here.


&#60;img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/88c308d05fa8b54b88fd17cb099ff707c07f7d0609c1c845fcf7543ec5373166/Poster.jpg" data-mid="238177816" border="0"  src="https://freight.cargo.site/w/1000/i/88c308d05fa8b54b88fd17cb099ff707c07f7d0609c1c845fcf7543ec5373166/Poster.jpg" /&#62;
poster designed by yanki kung</description>
		
	</item>
		
		
	<item>
		<title>waipo's hands</title>
				
		<link>https://huiyinzhou.com/waipo-s-hands</link>

		<pubDate>Tue, 14 Jan 2025 19:54:02 +0000</pubDate>

		<dc:creator>huiyin zhou徽音</dc:creator>

		<guid isPermaLink="true">https://huiyinzhou.com/waipo-s-hands</guid>

		<description>
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waipo’s hands (learning to love my grandmother)
外婆的手

scenes from my trip home to dongguan - dec 2024
Exhibitions:
“sojourning in lyric time,” The Art Gallery, High Point, NC
July 10-August 29, 2025

“bodies tender with grief,” Semans Gallery, Durham Arts Council, Durham NC
March 17-May 12, 2025

Artist Statement
I never knew that waipo (my maternal grandmother)’s hands had always been swollen for as long as she could remember. Hands of a laborer, a caretaker.
These few years, our distance changed from Jiangsu to Guangdong, from China to the US, from lockdowns to travel bans, from delivering COVID medicine to her from afar to the normalized collective amnesia of pandemic memories. She doesn’t know about my personal and political transformations; our hearts drifted away from each other in silence and misunderstanding. Other than the seemingly inseverable ties of being “family,” I didn’t know how to love her or understand her imperfect love for me. 

This past year and a half, I went back to China three times, and waipo moved from Jiangsu to live with my parents in Guangdong. I finally began learning about her life – her dreams about ghosts and ancestors, the yearning for her late mother, the scars on her thumbs, the two hair circles on the back of head, the dry criss-crossing patterns of her skin.&#38;nbsp; I even became friends with her new friends in the neighborhood, witnessing her first time building a chosen family after more than seven decades of hard labor. 

Where language falls short, the body remembers. When I asked waipo questions about her life, she would often say that there was nothing worthy of telling. But whenever we made dough, cooked, and did dishes together, the tactile and visceral memories always came back to her. She told me about making tofu and shoe insoles to survive, about her great grandmother's magical dough-making, about hunger and chronic pains. Bearing witness demands slow and intimate listening. 
I once read that “to love someone is to attend a thousand births of the person they’re becoming.” Maybe my grandmother will never understand my rebirths — my queerness, my organizing, and everything that feels so foundational to the constantly transforming being that I am. I'm learning to breathe alongside remnants of my past lives that inhabit her clumsy love and care for me.
I've also learned to accept that much of her life is not meant for me to access. I shouldn't parasite the wounds she had long tucked away for my own world building, to dwell on the quiet funerals of the exoskeletons she had shedded and buried.
But I can still choose to love her through the contradictions of it all, to witness her life by preserving and seeding, imperfectly, the bits and pieces we do get to share. It feels like tending to a garden together, her hands next to mine. 

---

我从来不知道外婆的手从她记事起就一直肿胀着。一双劳动者的手，一双caretaker的手。
这几年我和她的距离从江苏到广东变成中国到美国，从封控到covid travel bans再到解封之后的跨国送药和集体遗忘。她并不了解我的改变，心与心之间的距离在沉默和不解中越来越远。除了“亲人”这似乎绕不开的羁绊外，我并不知道该如何爱她，该如何看待她对我不完美的爱。 

过去一年半，我回国了三次，她也从江苏搬到了广东。我终于开始了解她的生活 — 她关于鬼怪和逝者的梦，她对她妈妈的思念，她拇指上的印记，她头发上的两个旋，她皮肤干燥的纹路。我甚至和她在小区里几个朋友打成一片，见证她在七十多年的辛苦劳累后，第一次能有了自己的chosen family。

我也开始读懂她的口是心非。她总说自己是“老妖怪”，嫌弃我跟着她拍个不停，却也开始主动拉我去录她唱的山歌、骄傲地告诉朋友们我多爱陪着她。当我问她一些口述史的问题时，她总是回答不上来— “反正就是很苦，谁还记得？”或者觉得自己的生活没什么值得被了解的。“我的人生是失败的，”她云淡风轻的一句话让我心里一阵刺痛。

where language falls short, the body remembers. 手是她记忆的载体 — 在和面、做饭、洗碗的时候，那些触觉和气味总会触发她的回忆 — 关于童年卖豆腐和鞋垫谋生计，关于她的太太揉面摊饼的功夫，关于饥饿和病痛。每次回家，我都能看见自己在慢慢疗愈从组织/行动和不断的失去中中习得的reactive desire to excavate and salvage memory. bearing witness需要仔细聆听和耐心等待。

i once read that “to love someone is to attend a thousand births of the person they’re becoming.” maybe my grandmother will never understand my rebirths — my queerness, my organizing, and everything that feels so foundational to the constantly transforming being that i am. im learning to breathe alongside remnants of my past lives that inhabit her clumsy love and care for me.

ive also learned to accept that much of her life is not meant for me to access. i shouldn’t parasite the wounds she had long tucked away for my own world building, to dwell on the quiet funerals of the exoskeletons she’d shedded and buried. 
but i can still choose to love her through the contradictions of it all, to witness her life by preserving and seeding, imperfectly, the bits and pieces we do get to share. it feels like tending to a garden together, her hands next to mine. 在我眼里这一切都值得记录。
</description>
		
	</item>
		
		
	<item>
		<title>nostalgia is the ghost of care</title>
				
		<link>https://huiyinzhou.com/nostalgia-is-the-ghost-of-care</link>

		<pubDate>Mon, 13 Jan 2025 21:21:15 +0000</pubDate>

		<dc:creator>huiyin zhou徽音</dc:creator>

		<guid isPermaLink="true">https://huiyinzhou.com/nostalgia-is-the-ghost-of-care</guid>

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	nostalgia is the ghost of care
a solo exhibition by huiyin zhou 徽音
On view:&#38;nbsp;March 4 - March 29, 2025at Golden Belt Gallery, 800 Taylor St. Durham, NC 27701 
Programming Dates:
Opening Reception and Artist Talk: March 8, Sat 6pm

Slow Art Tour with Gail Belvett: March 16, Sun, 3pm 

Third Friday Reception: 
March 21, Fri, 6-9pm

Gallery closure: March 25-28
Swing into Spring: March 28


	Nostalgia often denotes a past tense: a sense of sentimental or wistful longing for things, memories, and objects that are already gone. But for huiyin, nostalgia rests in the future: they archive and rescue moments as they are happening, predicting the grief that will come after they disappear. Beyond an irrecoverable loss, how can nostalgia’s tender teachings enable us to recognize the uniqueness of each moment while it is still here? Weaving photo prints, polaroids, handwriting, and other ephemera, this body of work draws from the artist’s daily encounters in BIPOC/Queer communities. Rooted in queer and feminist sensibilities, nostalgia is the ghost of care explores photo archiving as an active form of grief and care work. It provides a memory sanctuary amidst the hauntings of loss, erasure, and structural violence.This is a 2024-25 Durham Art Guild artist in residence project.
 Graphics designed by huiyin zhou and yanki kung.&#38;nbsp;
Note: the title is inspired by Andy J. Pizza’s comic on nostalgia and gratitude in the Invisible Things project.


Documentation by Danny&#38;nbsp;Peña @pen_yah and huiyin zhou.
 

</description>
		
	</item>
		
		
	<item>
		<title>intimate encounters</title>
				
		<link>https://huiyinzhou.com/intimate-encounters</link>

		<pubDate>Sun, 03 Dec 2023 03:50:58 +0000</pubDate>

		<dc:creator>huiyin zhou徽音</dc:creator>

		<guid isPermaLink="true">https://huiyinzhou.com/intimate-encounters</guid>

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	Intimate Encounters 一期一会, 2023-ongoing
A photo series exploring Chinese queer feminist friendships

Printed on Epson Hot Press Bright Paper (8.5 x 11’’), Annotated with Color Markers&#38;nbsp;


Exhibitions:
 2024/8/6-2024/9/30 Haptic Happenings, Durham Arts Council's Truist Gallery, 120 Morris St. Durham, NC 27701

2024/5/31-2024/6/9, Anthropology of Motherhood: Kinship and Othermothering, Dollar Bank Three River Arts Festival, Pittsburgh, PA

2024/4/25-2024/10/05, Lyndhurst Gallery, Center for Documentary Studies, 1317 W. Pettigrew St., Durham, NC&#38;nbsp; &#38;nbsp; community open &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; hours: 2024/9/24-26 &#38;nbsp; &#38;nbsp; &#38;nbsp; 4-6pm


My photo series focuses on the intimate lives of the Chinese queer feminist community in Durham, New York, Baltimore, and Irvine, CA. I guide my work with a queer feminist framework of intimacy, which I loosely define as a sense of connection and closeness beyond the heteronormative definition of sexual intimacy. At a time when connection is limited by geopolitical rivalries, manufactured borders, and a pandemic, feeling intimate with oneself and with others is a political act of reclaiming our own agency to still care and love in the ruins. 
Different from what is usually considered social movement photography, which focuses on the “public”, the hypervisible, and explicitly political acts of protest, I want to document the interior, affective lives of a transnational movement built on intentional relations and kinship. These are photos from communal cooking sessions, celebrations, and shared living spaces. Sometimes my friends look away and indulge in their own emotions, while other times they look at me straight into the camera with a playful smile or an open embrace. There are photos of folks making protest banners at a community gathering before PrideDurham, but there are also photos of my friend drawing a diary entry on the grave state of the world after a long day. There are photos taken in familiar places such as my bathroom that I share with a Chinese queer feminist friend; at the same time, there are photos of us cooking and transforming a temporary kitchen into our shared home. These are scenes of coming together and saying goodbye to each other, yearning for the day when we meet again. Through my photography process, I hope to uncover what Kevin Quashie calls the “sovereignty of the quiet” – the life sustaining rootwork of Chinese queer feminists who insist on seeing each other through our emotions, bodies, and vulnerabilities. 

What registers the people in my photos as “queer” and “feminist”&#38;nbsp; if these photos do not show their “difference”? I refuse to treat the affective and everyday experiences of living a queer feminist life as something readily accessible from photos, nor is it an “essence” I can “capture”. Instead, I treat photography as a conversation, a contact improv, and a mutual offering, whereby I get to know my friends just a bit more and invite them to witness our own history in the making. These are the intimate encounters of grief, joy, rest, and playfulness that are interwoven into the fabric of our community, and I decided to write and draw on my prints to ground these stories, quite literally, through my own lens. 
 

</description>
		
	</item>
		
		
	<item>
		<title>1001 Nights</title>
				
		<link>https://huiyinzhou.com/1001-Nights</link>

		<pubDate>Fri, 11 Jul 2025 18:44:08 +0000</pubDate>

		<dc:creator>huiyin zhou徽音</dc:creator>

		<guid isPermaLink="true">https://huiyinzhou.com/1001-Nights</guid>

		<description>"One Thousand and One Nights: A Queer Journey of Dreams and Diaspora" is a participatory art project collecting 1001 dreams and bedtime stories from queer and queer diasporic community members in the form of text, audio, photo, and video through group interviews, voice box messages, and online submissions. 

In huiyin and Laura's daily check-ins, they often share their dreams and nightmares with each other. These stories in the most uncensored realm – often of ancestors, chosen family, friends and strangers at once far and close – speak to their intuition, deepest fears and desires, solidarity and complicity, and ancestral knowledges that have been denied from marginalized communities. They have guided the duo's collaborative creative practice, often serving as connective tissues in their letters for the past two years. 
Drawing from Chinese Taoist cosmology and shamanistic practices in Northeastern Asia, this project views dreams as one of the least surveilled/(self)-censored forms of knowledge—a direct and unfiltered means of relearning and healing. At the intersection of ongoing global conflicts, genocides, and social movements, the work holds collective dreams in a womb-like, fugitive space for (im)migrants and marginalized communities, who are constantly being put through a transitory and crisis-response state. The work asks to center rest and care and examines the radical potential of collective dreaming as a political form for creative infrastructure (re)building and alternative healing.

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&#60;img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/21debd0f9c7f4189d3f8ca1e804afea88b730fdd81790c847211d1f8a24c19af/Culturepush-poster.jpg" data-mid="235689041" border="0"  src="https://freight.cargo.site/w/1000/i/21debd0f9c7f4189d3f8ca1e804afea88b730fdd81790c847211d1f8a24c19af/Culturepush-poster.jpg" /&#62;

Work in Progress; Supported by CulturePush’s Fellowship for Utopian Practice 2024-25

Public EventsJuly 19, 2025 3-5pm, weaving our collective dreamscape: relational practice for resistance and healing,&#38;nbsp;Rad Arts, Queen Street Magic Boat
June 28, 2025 4-6pm,&#38;nbsp;dreamscapes: weaving stories of rest and care, CulturePush Show Don’t Tell Symposium, Zoom&#38;nbsp;
June 19-22, 2025, xMPL (experimental media performance lab), UC Irvine Contemporary Art Center, CA</description>
		
	</item>
		
		
	<item>
		<title>Good Mourning</title>
				
		<link>https://huiyinzhou.com/Good-Mourning</link>

		<pubDate>Thu, 11 Jan 2024 23:42:20 +0000</pubDate>

		<dc:creator>huiyin zhou徽音</dc:creator>

		<guid isPermaLink="true">https://huiyinzhou.com/Good-Mourning</guid>

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&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/cec76125b2ee21838261918edbe0d707435c67504178de6f724526a0482f93e3/259A5519.jpg" data-mid="203114640" border="0"  src="https://freight.cargo.site/w/1000/i/cec76125b2ee21838261918edbe0d707435c67504178de6f724526a0482f93e3/259A5519.jpg" /&#62;&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/66d95c433dfd4f507f7398c620556342f070e89aee2ec48a06256a5f8f7ab857/259A4700.jpg" data-mid="203111643" border="0"  src="https://freight.cargo.site/w/1000/i/66d95c433dfd4f507f7398c620556342f070e89aee2ec48a06256a5f8f7ab857/259A4700.jpg" /&#62;Good Mourning结哀顺变, 2023-2024 (ongoing)digital photography, performance documentation for Chinese Artists and Organizers (CAO) Collective
Burns Pinon Ridge Reserve, Joshua Tree, CAExhibitions:2024/11/26-2024/1/26“Shroud,” Durham Art Guild 70th Juried Exhibition, Durham Arts Council Truist Gallery, Durham, NC

2024/9/11-11/15, “Anything But Still,” Block Gallery, Raleigh Municipal Building, 222 W Hargett St, Raleigh, NC 27601&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Artist Reception: Thursday, October 10, 2024, 5:30 – 7:30 pm

2024/8/18-10/6, “Memory Funeral”,&#38;nbsp; State of the Nation: BIPOC Artist Show, The Old Stone House, NYC &#38;nbsp; 

2024/6/21-7/29 “Memory Funeral”, Durham Art Guild Annual Members Show, Truist Gallery, Durham, NCGood Mourning is a durational performance on grief, mourning, co-living, memory and survival. Each winter, Chinese Artists and Organizers (CAO) Collective brings a group of Chinese queer feminists to the Burns Piñon Ridge Reserve in Joshua Tree, CA at new year’s transitions. Together, we cook, write poetry, make clay, inscribe words into clay vessels, and break these objects in a memory-funeral on the last day.
 
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