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Dream Pipeline

dream pipeline

Dec - 2025

The screen continuously outputs imagery generated from live speech. Spoken input is captured by a microphone and streamed through whisper.cpp for transcription. A Python script segments the text over time and uses a hand-built dream dictionary to assign thematic and emotional tags, expanding them into prompts sent to TouchDesigner to drive a real-time diffusion system. The work does not aim for semantic fidelity; instead, speech rhythm, pauses, and volume steer how the visual field evolves.

A camera simultaneously tracks movement in the space, leaving brief afterimages and traces in the generated output. 

 

These traces alter the diffusion behavior by shaping where and how noise is injected, allowing bodily motion to enter as a perturbation rather than a depicted subject. Fogging and glitch layers are added at the output stage, with glitch intensity mapped to volume—louder voices produce stronger ruptures, quieter speech yields subtler distortion. The result is a continuously shifting perceptual field instead of a stable representation.

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Type: Generative video system 

Authors: Liu Qianhua (Leo) Date: Dec 2025 

Dimensions: Variable Size 

Materials: Microphone; Camera; 

whisper.cpp; Python; TouchDesigner; 

StreamDiffusion; Display.

多彩抽象漸變

BRAIN ROAST

DEC 2025

Type: Interactive installation

Authors: Liu Q ianhua (Leo); Lu o Wen (Wi nnie)

Dimensions: 40 × 40 × 5 4 cm

Materials: h and-sculpted s ilicone brain; modified coffee mach ine; s ervo-actuated

silicone tongue; ES P32; Arduino; ultrasonic distance sensor; LCD display; LED strip; found objects

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A silicone brain rests above a modified coffee machine as an ingredient and symbolicoffering—an “emotional organ” staged for extraction. Reconfigured into a creature-like apparatus with teeth and a servo-actuated tongue, the machine performs guarded appetite: in its idle state, the tongue drifts in a slow, irregular rhythm; triggered by an ultrasonic distance sensor, it snaps into faster, wider motion as a viewer approaches, as if defending what it claims. A rainbow LED strip at the spout renders “liquid” as flowing light, accelerating with proximity into a frantic siphoning gesture.

The LCD intermittently flashes system-like phrases—“memory roasting,” “overthinking mode”—framing the object as a grotesque psychological interface. What “drips” below is not coffee but an imagined extract distilled from memory, desire, and emotion.

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Image forming appraratus

Image Forming Apparatus

April 2025

Type: Interactive installation 

Authors: Liu Qianhua (Leo); Jubelle Anne;Shelby Murchie 

Dimensions: Variable Size Materials:

Bare Conductive; Max/MSP; Arduino; 

Portable DVD player; Steel grid; VHS 

tape; Cables; Projector; Speakers 

"A constellation of dismantled media components—VHS tapes, cables, and circuit fragments—hangs beneath a welded steel mesh, hand-stitched into a “re-sutured memory fabric.” A projected global e-waste heatmap falls across the installation, situating these physical remnants within a landscape of discarded data. Viewers are invited to touch exposed metallic parts from decommissioned devices; linked through conductive materials, these fragments function as capacitive touchpoints that trigger sound samples. Children’s laughter, distant city streets, and animal calls serve as mnemonic cues—traces of the materials’ “former lives” that evoke the everyday environments in which such media once circulated.  

At the heart of the work is the tension between “cold media” and “warm memory.” Through physical contact, viewers “awaken” and “excavate” buried emotional resonance from inert matter. The sonic experience is non-linear: an interaction driven generative soundscape in which multiple touch points allow fragments to be recombined into a shifting sonic montage.

Each encounter produces a unique polyphonic layering—like a chance symphony assembled from the ruins of memory. Through this “symphony,” e-waste is reimagined as a spatial, multi-dimensional field of feeling.

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MoodDiary

Mood Diary

Jan 2025

Type: AI-generated visual 

installation 

Author: Liu Qianhua (Leo); Luo Wen (Winnie) 

Date: Jan 2025.

Dimensions: variable size 

Materials: Autolume; Max/MSP; 100 sky photographs (Toronto); monitor; picture wall; AI- 

generated video; readymade elements 

Mood Diary investigates the

artist's agency in the age of artificial intelligence. Instead of using pre-trained AI as a passive tool, the work focuses on how the selection of training data serves as a primary creative intervention.

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A grid of 100 photographs of the Toronto sky—capturing personal, emotional moments—serves as the foundational dataset. This archive is channeled through a custom-trained AI model to generate ambiguous topographies that oscillate between memory and abstraction. By blurring these sky-scapes, the work moves from individual nostalgia to collective memory, allowing viewers to project their own experiences onto the visuals.

To link this digital stream with the physical body, the output’s brightness and color are modulated by pre-recorded heartbeat data (integrated via Max/MSP).The core of the work is this negotiated uncertainty: exploring how AI can generate unexpected visuals while remaining anchored to the artist’s intent. It probes the liminal space between human authorshipand machine autonomy.

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Spiritual world

3 January - 20 June 2019

Silicone · Video ·  Sound ·

LEDs ·  Mechanical Device ·

Readymade

"Spiritual World" simulates the scene of the operating room. Through the interaction of various factors, the formed spatial composition creates a plot that is contrary to our collective memory, gives the audience a psychological experience that is contrary to daily experience, and conveys A sense of absurdity, a sense of astonishment. Thus forming a dislocated overall framework to promote the extension of the concept.

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錨點 1 spiritual main page
錨點 2

Washing Machine

3 October - 30 December 2018

Washing machine · Video ·

Table and chairs

The author intends to dissolve the affiliation between the body and the washing machine in daily life, and construct a new context: to establish a new way of viewing and interpreting the washing machine through relationship reorganization.

It makes the waste washing machine avoid the destination of the garbage dump, and turns from garbage into art. The spatial composition relationship formed by it gives people a sense of religious ceremony, thus making the waste washing machine sacred and solemn.

錨點 3

Resin · video · sound

Readymade

MEMORIES

3 January - 20 June 2016

This intimacy makes the objects an extension of my grandmother's body, and at the same time combines the images of my grandmother holding these objects and recalling the past to reinforce the idea she wants to express.

In the process of creation,

I collected representative items of my grandma at various stages. Behind each ready-made product, there is a period of my grandma's life experience. These objects carry the grandma's personal memories and personal feelings, and the objects establish a specific memory and irreplaceable secret relationship with the grandma's body.

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3 July - 20 October 2018

Mechanical device

Book

Silicome

DREAM

Dream

A contrasting effect is presented through the combination of figurative and realistic sculptural language and ready-made books.

The ignorant little baby slept peacefully, but he didn't know that his future was clearly arranged.

The author wants to present it through a combination of "babies with simple colors" and "ready-made books with colorful colors". The baby and the "huge book" create a visual contrast effect from color and volume.

LEDs · video · sound ·Steel plate

mechanical device ·

Dislocation

3 January - 20 June 2020

2020 515 Art Creation Cave Art Museum

The work "Dislocation" is not just a stimulus that is satisfied with the audiovisual, it urges the audience to combine time, memory and the comprehensive experience of the scene, to reflect and question.

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Biiiiird

Generative art

I attempted self-learning and exploration of Grasshopper for art creation, and sensed that generative art differs from traditional sculpture creation in terms of real-time feedback, ease of iteration, flexibility, and scalability. Grasshopper excels at manipulating curves and surfaces, facilitating a quicker and more potent art creation process by handling complex and repetitive shapes effortlessly within a short timeframe. Through the exploration of generative art, I've discovered that it contributes to broadening the dimensions and presentation possibilities of the creations.

4 generative art
OTHERS WOKR
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North York, Toronto, CA M3K 0G4 
Tel: 437-556-2999

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