Xiao Huang (b. 1987, Cheng Du, China) is a multimedia experimental transboundary and performance artist who lives and works in Rome and London. She gained her master's degree in contemporary dance from The National Academy of Dance of Italy. 

Through a decade-spanning practice within traditional Chinese dance and contemporary Western dance, Xiao has been continually exploring the expressive possibilities of her body.  Her artistic output incorporates a diverse range of mediums, from sculpture, to painting, to various multimedia installations.

Xiao's practice blurs the boundary between representation and abstraction, she merges Eastern and Western philosophy and aesthetics, with references that include the teachings of Taoism, the gestures of Abstract Expressionism and Post-Modern dance.  


latest works



Uffizi Live 2018

Uffizi Museum Florence

A dialogue about Venus by Botticelli

Xiao executes an original and evocative performance in front of the ''Birth of Venus’' by Botticelli to represent the dialogue between Western and Eastern Beauties.

Her movements create a dynamic complex of signs expressing a physical and spiritual energy at the same time. Allusions range from the plastic poses of Western sculpture and painting, to tableaux vivants and to the Zen philosophy of emptiness.



UNIT 9 London 2017

amorphous moments is the debut exhibition of Rome-based artist Xiao Huang. The starting point of the project is a choreographed performance shot in an anonymous lakescape that explores the human form within space and topography. Connecting the meeting point between earth and sky, the performance marries the fluidity of Xiao's movement in water with the philosophies of Zen minimalism and wu wei wu, the Taoist notion of action through non-action. The result is a contemporary, elemental dance.

The exhibition brings together video, performance-generated photographs, ink-brush paintings and bronze sculpture to create a multi-layered installation directed by Xiao Studio. Recognising the body as a metamorphic structure, Xiao’s performance interprets human form as a microcosm of a wider landscape: a topography composed of hills, valleys and sky. Through dance, plenums and voids alternate, producing a rhythm of contraction and expansion. Black and white photographs capture the fluid lines of Xiao’s semi-abstracted form.

A video showing Xiao’s performance opens up a fourth dimension, this being the dimension of time through replay. Speaking of the project, Xiao suggests further dimensions, these being the inner-state of the artist; the process as the body emanates itself as a form of spirituality, and the final dimension being the moment when her practice spreads its resonance through interaction amongst other bodies.