Xinnuo Han

Bio:

Xinnuo Han is a visual‑installation artist based in Glasgow, UK. Working across installation, found‑object assemblage, stereoscopic works, moving‑image projection and photography, she creates immersive sensory‑driven spatial archives. Drawing from personal lived experience, her practice investigates cultural representation, bodily autonomy, and the blurred boundaries between subject and object. Merging intimate observation with archival‑focused research, she invites audiences to question museum display conventions and how individual identities are framed by external categorising forces.

Artist Statement:

My degree show work, Lira’s Haptic Memory Archive, is an immersive mixed‑media installation series, physically realised through Lira’s Museum Office and Lira’s Fragmented Memory Zone. This fictional private museum office space is dedicated to recovering overlooked feminine domestic memories. Inspired by intimate anthropological research studios and small‑scale private museums, the work rejects the rigid, objective display logic of institutional exhibitions. It builds a personalised sensory archive across two interconnected zones with seven individual artworks, combining sculptural assemblages, vintage found objects, stereoscopic specimen pieces and dynamic projection to form a cohesive narrative space.

Adopting a fragmented narrative structure, every artwork functions as a discrete memory fragment carrying layered emotion and contextual meaning. Within Lira’s Fragmented Memory Zone, Lira Alive Hair Dye Box and Memory Weep use intact and ruptured wooden crates, textured sculptural materials and projection to embody repressed, overflowing feelings and visualise unprocessed inner trauma. The Museum Office zone holds Lira’s Self Specimen, Sensory Hair Cabinet, dual‑system composite exhibit labels, the site‑specific spatial installation Lira’s Museum Office, and the revised Haptic Strands. Antique grooming artefacts preserve traces of women’s daily rituals; stereoscopic self‑specimens reveal the divide between concealed identity and inner truth; projected footage materialises the invisible sensory power of Lira’s red hair. Visitors assemble the full character mythology only by navigating and piecing together these fragmented works throughout the space.

Centred on red hair as a haptic core symbol, this project documents marginalised everyday female histories. Mainstream official archives prioritise factual timelines and institutional records yet overlook intimate domestic rituals of self‑adornment that hold rich personal and intergenerational warmth.

I establish a dual‑interpretation system: formal archival labels paired with subjective handwritten annotations. Red hair operates as a haptic medium linking physical objects to intangible residual memory, turning ordinary vintage household artefacts into emotional memory carriers. Ultimately, this work constructs an alternative feminine archive, excavating and visualising quiet, long‑forgotten ordinary memories excluded from dominant official historical narratives.