The Genetic Salon project, developed over the past five years, presents a hypothetical scenario where a genetic beauty company allows consumers to beautify themselves in any way imaginable through genetic technology. Presented in the form of exhibitions, films, speculative fiction and livestream programmes, Genetic Salon is a work of sci-fi, building on queer notions of the fluctuation of body, gender and identity, as well as theories of the digital age and the quantification of everything through big data. Genetic Salon presents a future worldview in which genes are the basis for dominating everything; it is also the currency in circulation. Gene manipulation paves the way to a more ideal existence, and lends us a chance to experience living as a non-human species. On this technological trajectory towards further artificiality, the notion of the natural has become an enemy. The project, which began as a podcast with Hong Kong Radio Community, includes collaborators from different professional and personal backgrounds, including artists, filmmakers, scientists, actors, scholars and collectors. It addresses various issues concerning genetic technology in relation to theology, history, anime, and the human body.
Curses: Final Girls (2025) is a multi-channel video installation that reimagines haunted female figures from East Asian and Nordic horror, folklore, and popular culture. Bringing together Sadako Yamamura, the Taiwanese human-faced fish, Huldra, White Snake and Green Snake, and the contemporary K-pop idol, the work asks what these figures might say when given voices of their own. Multi-channel video installation, 4K, colour, 5.1 surround sound, 16:9, 15 min 04 sec.
Drawing on feminist readings of horror and media hauntology, the project explores how violence, beauty standards, and objectification shape bodies perceived as monstrous or desirable. Its protagonists camouflage, endure, and transform to survive. Through cinematic storytelling and installation, the work considers how fear circulates across cultures, and how shared experiences of haunting might become a basis for sisterhood and collective care.
Bobby Yu Shuk Pui
Yu Shuk Pui Bobby
is an artist, filmmaker, and researcher based between Hong Kong and Oslo. Working across moving image, installation, performance, and text, her practice explores the fragile intersections between body, memory, family history, and cultural translation.
Her work often begins from intimate and bodily experiences — illness, shame, inherited silence, food, language, and care — and expands them into layered narrative spaces where personal and collective histories meet. Moving between humour, vulnerability, and speculative imagination, Bobby treats the body as a site where trauma, desire, and repair are continuously negotiated.
Her solo exhibition The Piles We Carry at UKS, Oslo, marked an ongoing shift in her practice towards relational methodologies and embodied research. Through speculative repair rituals, paper-built environments, and video works, the project examined bodily and emotional debts inherited within family systems.
Bobby holds a BA from Hong Kong Baptist University and an MFA from the Oslo National Academy of Fine Art. Her work has been exhibited internationally at The Shophouse, Hong Kong Museum of Medical Sciences, Para Site, UKS, VI VII, Podium, K4 Gallery, Kunstnernes Hus, and other institutions and residencies across Asia, Europe, and North America. In 2023, she was awarded Best Director at the 17th Fresh Wave International Short Film Festival in Hong Kong.
