When wood begins to speak, sound becomes water for the body to wade through.

When breath becomes a threshold, sound holds vulnerability and brutality, resonating across bodies and spaces.

When feet touch the ground, sound weaves the thread between flesh and soil.

Huichun’s electroacoustic practice braids computer code, spectral analysis, and spatial sound with daxophones, arbrassons, balloons, and mouth harps, tracing a line between wild improvisation and deep listening. She acknowledges the land through her feet, shaping her performances close to the ground. Touch and breath become her language—a way of speaking with history and forming relational bodies of sound and spaces.