MLitt Fine Art Practice School of Fine Art
Mengyun Zhou
Mengyun Zhou, born in Shanghai and based in Glasgow, works with sculpture, installation, and sound. Combining steel, hooks, and mechanical remnants with wood and bone, she constructs hybrid forms that evoke both bodily presence and industrial violence. Through asymmetry, fracture, and tension, her work examines how technological systems reshape and entrap the body. Sound — as vibration and resonance beyond language — becomes a parallel voice, articulating what remains when words fail.
More information on Instagram∶https://www.instagram.com/mengyun1215?igsh=MTJ1NHB1Z2syaGlvZw%3D%3D&utm_source=qr
Silent anger
In Silent anger， metal is shaped into something that kinda looks like a human body, but it’s clearly not alive. It feels like pieces of some broken machine got stuck back together into this strange, alien form. Its sharp limbs look like they could stab through the air at any second—totally unstable, but still really threatening. It just stands there, completely silent, but you can’t ignore it.
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Forged Horn
In Forged Horn，metal is forged and welded into a curved horn, as if a fragment of wreckage has broken through the wall. It evokes both a remnant of a living creature and a shard of machinery, suspended at the threshold between the organic and the artificial. The coarse welds and sharp tip carry a raw sense of violence, resembling both a wound and a weapon. Extending in silence, it confronts the viewer with a muted yet unshakable force—an unspoken question embodied in form.
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Anxiety
In Anxiety, four hooks extend outward from a central point, like limbs of a creature or parts of a mechanical device. Their outward direction suggests aggression and resistance, as if claiming control over the surrounding space. The smooth metal contrasts with the carved wood, highlighting a dialogue between the body and the tool.
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Trap
Trap reflects on how the human body is increasingly shaped by technology. The hooks can be seen as prosthetic limbs, showing how we may become more like tools ourselves—used, controlled, or even replaced. I also question the boundary between control and loss of control: if our limbs were replaced by hooks, would we still feel or move freely? Or have we already surrendered to the logic of machines?
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Restless stillness
In Restless stillness, pine and metal are combined into a form that resembles a table or chair but refuses to be used. Four supports extend like limbs, only to harden into sharp cones at their ends. It appears both as a primitive tool and a lurking trap, completely subverting the functionality of everyday objects. The lightness of the bamboo nodes contrasts with the coldness of the metal, as if a convergence of life and violence. It stands motionless in space, yet under its silent threat, viewers find it difficult to approach.
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Intimate time
When something as overlooked and low-status as a sewer—a system buried beneath our cities, meant to carry away waste—is suddenly turned into the main subject of a recording, carrying the voices of intimate relationships, it completely shifts its meaning. With Intimate time , I want to raise questions about how sound shapes our experiences, memories, and emotions. What happens when we hear whispers, arguments, or silences that were never meant to be public?
