Shan Hua Hua (b.1995) is a video artist, 2022 graduated from RCA in currently living and working in
London. Shan’s
work is
often centred on the symbiotic relationship between pop culture and social
change, and our thoughts on identity. She specialises in collecting the forms
of things in different time and space from her personal experience, and through
the narrative method of digital identity and multiple time and space
discussion, she reshapes the original forms of things to create a chaotic time
and space so that these unrelated things can have a natural collision and
development.
Shan‘s film THEY 2022 won the Best
Animation Award at the London international Web & Short Film Festival and
Best Fashion Film at the Madonie Palermo Film Festival. I Can Hear You, in an
unfamiliar Way was finalist for Asvoff A
Shaded View, run by Diane Pernet, and The Novelist 2024 won the Best Virtual
Reality Award at Cannes World Film Festival. She has worked on fashion
editorials for several major publications and brands.
2024,
Solo
Exhibition Will is Snotty Knife That Never Truly Pierced Anyone at Silmeengine
2024, ESSAYAG, La Traverse Gallery,
Marseille, France
2023, Vouge China
Fashion Found, The Virtual Frontier Finalist of Finalist ,China
2023 I CAN HEAR YOU, IN AN UNFAMILAR WAY 15thAsvoff A Shaded View
on Fashion Film Diane Pernet Shortlist,Paris
2023 Schmidt Ocean
Institute, Artist at Sea Residency, participates in the DYNAMICS OF SINKING
MICROPLASTICS expedition programme, Panama
2023 Participated as
art director and digital creator at shyness space, London
2022 "They"
was selected the Best Animation Award at the London International Web &
Short Film Festival, London
2022 Best Fashion Film at
the Madonie Palermo Film Festival, Italy
2022 Asvoff A Shaded View
on Fashion Film Diane Pernet Shortlist,Paris
2022 London Fashion Film
Festival Shortlist, London
2021 The virtual
exhibition Ocean at the Slimeegine Engine
This work tells the story of a contemporary young person
who, seeking to escape the pressures of modern society, unexpectedly travels
into the home of the protagonist from Kafka's unfinished novel The Trial.
The house is empty, and the only voice comes from a mask hanging on the wall.
The two characters, with contrasting personalities and viewpoints—one
practical, the other romantic; one focused on the macro, the other on the
micro—engage in a conversation about beauty, death, life, and love. Their
dialogue evolves from arguments to mutual understanding, influence, and,
ultimately, comfort.
Shan Hua replaces traditional imagery with the form of a
room, breaking away from linear narrative structures. By focusing on core
literary content, the work presents a contemporary "outsider’s"
fractured identity, the fragmentation of information, and generational trauma.
This piece moves beyond "perfect storytelling" to become an
experimental space for "genuine resonance."