Audrey Chou
Her multidisciplinary research spans interactive & real-time system design, experimental filmmaking, site-specific performances, durational performances, audio-visual, sound design, and immersive production. Through cross-disciplinary frameworks, she explores themes of dysphoria, displacement, and sonic landscapes—centering embodied storytelling as a method of artistic inquiry.
She practices and investigates the intersections of movement, identity, and sensory perception, drawing on cultural memory, ecological awareness, and temporal healing as conceptual anchors, where she is constantly researching in between institutional and commercial relationships, social and personal structures, as well as languages that connect the in-betweenness of things across phygital platforms.
Nov 10, 2025
“My work navigates the liminal landscapes between the digital and the corporeal, where the self is both container and conduit—a vessel of gesture, image, and memory in perpetual motion. Rooted in postcolonial Taiwanese identity and shaped by diasporic drift, I engage the body as interface, oracle, and passage—a site of becoming, shaped by ecological, technological, and historical tides.
Guided by posthumanist thought, somatic intelligence, and poetic futurism, I create time-based environments and movement-centered works that blur the boundaries between nature and machine, presence and projection, ancestry and data. The unseen—what lingers beneath perception—becomes tangible through real-time sensors, audio-visual reactive lights, and generative soundscapes, where bodies imprint onto space like weather systems: transient, emotional, and mutable.”
— Audrey Chou
Could you introduce yourself and share a bit about your background?
Hello I am Yi-Han (Audrey) Chou, I have a background in Fashion Design & Contemporary Dance and I grew up with a main focus in drawing and painting. I started dancing hip-hop around 14, and continued to dance until now.
Guided by posthumanist thought, somatic intelligence, and poetic futurism, I create time-based environments and movement-centered works that blur the boundaries between nature and machine, presence and projection, ancestry and data. The unseen—what lingers beneath perception—becomes tangible through real-time sensors, audio-visual reactive lights, and generative soundscapes, where bodies imprint onto space like weather systems: transient, emotional, and mutable.”
— Audrey Chou
Could you introduce yourself and share a bit about your background?
Hello I am Yi-Han (Audrey) Chou, I have a background in Fashion Design & Contemporary Dance and I grew up with a main focus in drawing and painting. I started dancing hip-hop around 14, and continued to dance until now.
As an artist, what are some recurring themes or questions you often explore?
As an artist, I explore themes of identity, nature, hybrid spaces, embodiment, and diasporic narratives. I’m drawn to telling stories that connect people and evoke shared feelings of vulnerability—revealing the fragments of ourselves that surface as we navigate an ever-changing technological world.
Growing up, I loved traveling, and those experiences—alongside growing up with technology—shaped my sense of diversity and adaptability. After moving to New York, I began exploring my identity as an artist through the lens of family history, cultural colonization, and the experience of living in between cultures and spaces.
Sounds like traveling and moving to New York have heavily influenced your creative process. Could you share more about how new locations influenced your creative process? Were there any moments of life living in different cities that specifically inspired you?
I think moving to another city has heavily influenced how I think about my identity, as well as how I constantly have to think about how to introduce myself in a city that’s such a melting pot. Before I moved to New York, I hadn’t really thought much about my country’s history or the people who came before me. Everything used to feel like it was about looking forward to something else, rather than looking inward to understand what makes me who I am and what has shaped my way of thinking.
Moving to New York has made me question and reflect more on the “five W’s” — who, what, when, where, and how — and to apply more creative, research-centered, and multidisciplinary approaches in my work.
Your practice spans choreography, technology, and immersive media. How did these different forms start coming together in your work?
I curated my first show with friends when I was 19, back home in Taipei. It was the first time I committed to creating an exhibition that brought together installation, performance, and new media. This convergence grew naturally from my simultaneous practices in visual art and dance. I’ve always been interested in how these forms intersect and in exploring how dancers respond to the worlds of media and installation art.
Sound and movement play strong roles in your work. What draws you to these mediums as storytelling tools?
I always loved music growing up, but it was never something that I thought I would be doing as part of my work in my life. I started making music really young for fun, recording audio of myself singing, writing lyrics on my notes, as well as making beats or manipulating audio for my own films that I made. Music is just something that connects and creates conversations with some of my best friends growing up. I think sound and movement has the ability to shape how time can feel like, and it is something that you can feel so strongly with energy. I feel like both of them are so connected to each other because of how dancers were having the need of musicality, and how sound is making space for the mood and establishes the narrative.
You often talk about “the body as both container and conduit.” Could you share more on this topic?
As a performer, I often feel the need to become a vessel—able to empty myself in order to embody another character or adapt to a form created by someone else. At the same time, I’m continually shaping who I am through the choices I make, the words I speak, and the mindset I choose to believe in as both a person and an artist. I believe we are always in a state of flux, constantly evolving and transforming ourselves through action and practice.
As someone trained in dance, how does your sense of musicality influence the sound you use in your performances?
I started in street dance, and hip-hop has always been something that deeply influenced my life — from the way I listen to music to my love for electronic music, R&B, hip-hop, house, and more.
I think what made me want to dance was a music video that I saw from MTV when I was in elementary school, where I really think that b-boying and hip-hop are just so cool, and I also wanted to learn and try to be like someone in the music video, but then I realize I enjoy having my body to represent music more then being in a music video lol.
Growing up, I listened to a wide range of music. I would say my musicality is influenced more by my family’s love for music and film than by anything else, while also being shaped by pop culture and the blend of visual and movement-based art forms around me. There was also a time when I loved listening to rock bands — I used to collect indie albums and explore underground music scenes.
For me, music feels natural. The styles I choose to dance to are definitely influenced by the kinds of music I love and connect with.
Could you talk more about your thesis topic Filling the Shell? What topic does it touch on? As you continue developing this project, what do you hope people take away from this project?
I was working on a lot of personal research, as well as this long emotional feeling of emptiness and alienation. The work was inspired by my personal turama, as well as feelings of disconnection and ways of trying to make sense of the complications of a person through time.
The main character who is a ghost, was like someone who where unseen or less being recoded in history.
There’s many things that I am experimenting with, not only on the technical side, but also on the research of language making.
As I continue the project. I also want to invite the audience to be part of it. Where I have this element because I believe that stories are shaped by the combination of people and choices made through a collective or individual.
I hope to encourage people to recognize that we all come from different cultural backgrounds, and that no single culture or nation can fully represent the diverse experiences of those who come from it.
We will also do another demo of the project in February 2026 to be announce soon :)
Are there particular artists, creators, or thinkers whose work has deeply influenced how you create or see the world?
I draw deep inspiration from dance pioneers like Trisha Brown, visionary painter Hilma af Klint, and my mentor Sekou Heru, whose teachings in house dance culture have profoundly shaped how I train myself and think about my practice.
Looking ahead, are there new materials, tools, or ideas you’re excited to explore in your upcoming work?
I think I will love to develop more of my practice in music production, interactive websites, and sound art; I am also interested in continuing and developing my thesis work — Filling the Shell, at the same time understanding the direction and practice that I will like to grow towards as an artist.