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。
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Resonance Unfading
Installation
65cm x 65cm x 65cm
2025
Oare Gunpowder Works Country Park, Faversham, Kent, UK
View the exhibition
This installation combines psychogeography and history to explore how landscapes retain emotional and historical residue. Located at the Kent Oare Gunpowder Works Country Park, the work centers on a wind chime made from copper tubes and stones sourced from two historically charged sites: the Rhine River in Germany and the former gunpowder works in Kent. The central stone, taken from the gunpowder site itself, anchors the piece in local memory, while the Rhine fragments carry echoes of distant conflicts and migrations.
As the wind moves through the installation, the copper tubes produce deep, resonant tones—sonic traces of the violence once rooted in this land. Psychogeographically, the chime invites the body to listen differently, tuning into invisible histories embedded in place. Each strike becomes a subtle disturbance in space, prompting reflection on displacement, war, and the fragile concept of home. In this quiet, persistent rhythm, sound becomes both witness and question: what histories lie beneath our feet, and can listening reconnect us to what’s been lost?
该装置结合心理地理学与历史元素，探讨风景如何保留情感与历史的残留痕迹。作品设于肯特郡 Oare 火药场遗址乡村公园，以一件风铃为核心——由铜管与石头制成，石头分别取自两个历史负载之地：德国的莱茵河与肯特旧火药工厂遗址。中央石块来自火药场遗址，使装置深深植根于地方记忆，而来自莱茵河的碎石则承载着遥远冲突与迁徙的回响。
风吹过装置，铜管发出低沉共鸣的声响——成为这片土地上曾经暴力历史的声波痕迹。从心理地理学的视角来看，这件作品邀请身体以不同方式倾听，引导人们去感知那些被埋藏在地景中的无形历史。每一次敲击，都是对空间的一次微妙扰动，引发我们对流离失所、战争，以及“家”这一脆弱概念的思考。在这安静而持续的节奏中，声音既是见证，也是提问者：我们脚下埋藏着怎样的历史？而倾听，是否能将我们重新连接于那些已经失落的事物？