Artist Highlight - Yiwei Huang

1. Future Human Connectivity Devices imagines tools designed to restore everyday interactions between neighbours. What prompted you to explore this speculative scenario of social disconnection?

The project was inspired by my experience of staying at home in Beijing last year. I realised that I could do almost everything online—shopping, calling people, working, studying, ordering food or medicine—without needing to leave my flat. This made me wonder what might happen if this level of

convenience were taken to an extreme. If people rarely needed to go outside or meet others in the physical world, how might this affect social relationships and our own state of mind? The project speculates on this possible future and explores how absurd it would be if people will need to use specially designed tools to conduct simple interactions.

2. The work presents objects that appear functional yet somewhat absurd in the present day. How does this tension shape the way viewers interpret the piece?

The objects are intentionally presented as functional yet absurd. By turning simple social gestures into mediated tools, the work exaggerates the possible consequences of our increasing reliance on technology. This tension invites viewers to reflect on how strange everyday life might become if technological development continues along its current trajectory. The absurdity encourages speculation about whether this is the kind of future we want to move toward.

3. The unusually long chain and suspended cup suggest a system for interaction across distance. How does the physical scale influence the narrative of the work?

The exaggerated length of the chains suggests the growing distance between people in the imagined future. It symbolises both the physical and emotional effort required to overcome this separation in a world where real-life social interactions have become rare. At the same time, the unusual scale introduces a sense of absurdity by transforming familiar everyday objects—such as cups or plates—into elongated devices. This shift in scale disrupts expectations and invites viewers to question the strange social conditions that might require such tools.

4. Your practice often treats the body as a collaborator. How does the wearer’s movement and proximity activate this piece?

The pieces are designed to be activated through the body and through interaction with others. When worn, the long chains extend outward from the body, physically connecting the wearer to another person across a distance. Movement, gesture, and proximity become essential for the objects to function—whether reaching out to share a drink or initiating a small social exchange. In this way, the body becomes part of the system that enables connection, emphasising that human interaction ultimately relies on physical presence and participation.

5. The materials—copper, silver, and gold plating—carry associations with value and craft.  How do these choices contribute to the conceptual reading of the object?

The project reflects on genuine human connection and the sensory experiences of listening, speaking, sharing food, and drinking together. Although the objects are situated within a speculative high-tech future, the use of copper, silver, and gold plating emphasises handcraft and material presence. These materials carry associations with value, care, and intimacy, reinforcing the idea that human connection itself is something precious. The visible traces of making highlight the human touch within the objects, encouraging a slower and more attentive way of relating to one another.

6. The devices propose small, everyday gestures such as sharing a drink or sending flowers. Why did you focus on these subtle social rituals?

I focused on subtle social rituals because their simplicity highlights the absurdity of needing a device to facilitate them in the imagined future scenario. Actions like sharing a drink or sending flowers are normally effortless gestures, so turning them into mediated interactions emphasises how distant people may have become from one another. I was also inspired by conversations with people around me about their experiences with neighbours. Many meaningful relationships begin with small, low-pressure interactions. Keeping this in mind, the devices are designed to invite these moments gently and with a sense of humour, allowing connections to form naturally.

7.  The work sits between jewellery, tool, and speculative design object. How important is this ambiguity in the way the piece operates?

The ambiguity is important because jewellery is traditionally something intimate, delicate, and treasured, often carrying emotional value. By presenting these speculative devices in a jewellery-like form, the pieces suggest that small human interactions—such as sharing a drink or borrowing ingredients—have become rare and precious in this imagined future. The careful hand-made quality reinforces this idea, positioning everyday social connections as something fragile that must be intentionally preserved.

8. Within The Invisible Made Visible, the work highlights overlooked moments of human connection. What kinds of interactions or reflections do you hope the piece might provoke?

I hope the work encourages people to notice those around them and reconnect with the physical world. It highlights small, overlooked moments of interaction—listening, sharing, and conversation—and reflects on the importance of building connections with real people. It also celebrates the imperfect and spontaneous nature of human relationships.