EVELYN XINYI HU 胡心依
Evelyn Xinyi Hu(b.2002), she is an artist working across China, the UK, and South Korea. She consistently employs walking as a methodological approach for interdisciplinary research and artistic practice. Integrating painting, installation, moving image, and site-specific inquiry, her work delves into charged sites such as war remnants and natural-cultural heritage landscapes, uncovering the layered histories beneath contemporary appearances of peace.
Currently, her practice focuses on the Thames River and the lingering energies and perceptual traces of past wars embedded in present-day landscapes. Through techniques such as counter-mapping, she seeks to deconstruct anthropocentric historical narratives and transform personal reflections into responses to broader systemic conditions.
胡心依作为艺术家创作于中国、英国、韩国。她始终以“步行”为方法论进行跨学科研究和创作，她结合绘画、装置、影像与在地性研究，深入战争遗骸、自然文化遗产等特殊地点，挖掘现今和平表象之下的复杂历史。
目前她特别关注泰晤士河与既往战争在当下地景中所留存的能量与感知痕迹，使用“反制图”
等方式尝试剖析“人类中心化”的历史，将个人反思成果转化为对更大系统的回应。
CV
Email
InstagramApology from the River
Mixed materials
150cm x 200cm
2025
Royal College of Art, London, UKI walked from Cirencester to the dried-up source of the Thames, tracing the riverbed until I found the first flowing water. This journey became a spiritual map, revealing contrasts between purity and pollution. I staged a satirical hunt for a " barbaric " stone to critique how humans scapegoat nature and sign "unequal treaties" with it. Through counter-mapping, the river becomes a silent witness to empire, violence, and erased histories.
This act of walking led me to deeper reflections on the Thames. In literature, the river has often been portrayed as undergoing a symbolic transformation: from a river of glory, to one of death, and finally to one of calm—seemingly tamed and absorbed into the historical narrative of the nation. Against this backdrop, I aim to step outside of a human-centric framework, questioning the river’s identity from a more-than-human perspective. At the same time, I seek to compose a subjective archive of the “present” through the embodied experience of the walker.
我从Cirencester步行至干涸的泰晤士河源头，沿着河床前行，直到找到第一处流动的活水。这段旅程成为一幅精神地图，揭示了纯净与污染之间的对比。我策划了一场对“野蛮”石头的讽刺性狩猎，以批判人类如何将自然作为替罪羊，并与之签订“非对等条约”。通过反制图的方式，这条河流成为了帝国、暴力与被抹除历史的无声见证者。
这次行走也引导我对泰晤士河展开更深层次的思考。在文学作品中，这条河常被象征性地描绘为经历三重转变——从辉煌之河，到死亡之河，最终成为一条平静、被驯服并纳入国家历史叙事中的河流。在这样的背景下，我试图跳脱人类中心主义的视角，从非人类的立场重新探寻河流的身份。同时，借由行走者的身体经验，我也在编织一份关于“当下”的主观档案。