The Mnemosyne: inside Yasmine Anlan Huang’s visual moodboard
March 23, 2026
The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
Born in Guangzhou (China) and now based in London, artist Yasmine Anlan Huang has the “idol” as the core symbol of her research, where she looks at the dynamics of production of desire in relation to online intimacy and digital identities. Through an aesthetic that combines references to kawaii culture, school uniforms, and Victorian imagery, her work highlights the visual codes that structure innocence, discipline, and the spectacularization of the female body, while also interrogating the logics of dating apps and the fetishisation and perception of Asian girls within a Western gaze. We asked Yasmine to select visual bits that could invite us into her world of references and obsessions.
YAH: After visiting the replica of the space dog Laika at VDNKh, many years later, I came across this book: Soviet Space Dogs. Some of my work seems to share the same energy as this image - ribbons, a bouquet of stars, non-consenting innocent animals with unbearable narratives
YAH: I’m super into weird collectables and the psychological attachments behind them. I thought I’d seen every niche until I found magazines for used hunting supplies... The shock of a trap ad like this shifted my work, and hunting supplies started appearing later on.
YAH: The moment I saw the big text "Innocence Supply Station", I was like "OMG, isn't this my whole practice?!" Then I noticed the small print: chicken meat, rabbit meat, pigeon meat, and three berries.
YAH: There was a My Melody itai car parked outside my metal fabricator. I thought the driver was a fellow Sanrio fan, but she told me she’s just a terrible driver. Every time she bumps the car, she covers the damage with another My Melo sticker.
YAH: Easter is somehow the most important holiday to me. Nothing special, just a creepy Easter Bunny that shares the same gurokawa register as my work.
YAH: Sidewalk abandonments often inform my video and sculptural assemblages, for example, my pigeon works. This time it felt like an adult iteration of what I’d already made. The shoes I used for image and text transfer were girls’ Mary Janes.
The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
Born in Guangzhou (China) and now based in London, artist Yasmine Anlan Huang has the “idol” as the core symbol of her research, where she looks at the dynamics of production of desire in relation to online intimacy and digital identities. Through an aesthetic that combines references to kawaii culture, school uniforms, and Victorian imagery, her work highlights the visual codes that structure innocence, discipline, and the spectacularization of the female body, while also interrogating the logics of dating apps and the fetishisation and perception of Asian girls within a Western gaze. We asked Yasmine to select visual bits that could invite us into her world of references and obsessions.
YAH: After visiting the replica of the space dog Laika at VDNKh, many years later, I came across this book: Soviet Space Dogs. Some of my work seems to share the same energy as this image - ribbons, a bouquet of stars, non-consenting innocent animals with unbearable narratives
YAH: I’m super into weird collectables and the psychological attachments behind them. I thought I’d seen every niche until I found magazines for used hunting supplies... The shock of a trap ad like this shifted my work, and hunting supplies started appearing later on.
YAH: The moment I saw the big text "Innocence Supply Station", I was like "OMG, isn't this my whole practice?!" Then I noticed the small print: chicken meat, rabbit meat, pigeon meat, and three berries.
YAH: There was a My Melody itai car parked outside my metal fabricator. I thought the driver was a fellow Sanrio fan, but she told me she’s just a terrible driver. Every time she bumps the car, she covers the damage with another My Melo sticker.
YAH: Easter is somehow the most important holiday to me. Nothing special, just a creepy Easter Bunny that shares the same gurokawa register as my work.
YAH: Sidewalk abandonments often inform my video and sculptural assemblages, for example, my pigeon works. This time it felt like an adult iteration of what I’d already made. The shoes I used for image and text transfer were girls’ Mary Janes.
The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
Born in Guangzhou (China) and now based in London, artist Yasmine Anlan Huang has the “idol” as the core symbol of her research, where she looks at the dynamics of production of desire in relation to online intimacy and digital identities. Through an aesthetic that combines references to kawaii culture, school uniforms, and Victorian imagery, her work highlights the visual codes that structure innocence, discipline, and the spectacularization of the female body, while also interrogating the logics of dating apps and the fetishisation and perception of Asian girls within a Western gaze. We asked Yasmine to select visual bits that could invite us into her world of references and obsessions.
YAH: After visiting the replica of the space dog Laika at VDNKh, many years later, I came across this book: Soviet Space Dogs. Some of my work seems to share the same energy as this image - ribbons, a bouquet of stars, non-consenting innocent animals with unbearable narratives
YAH: I’m super into weird collectables and the psychological attachments behind them. I thought I’d seen every niche until I found magazines for used hunting supplies... The shock of a trap ad like this shifted my work, and hunting supplies started appearing later on.
YAH: The moment I saw the big text "Innocence Supply Station", I was like "OMG, isn't this my whole practice?!" Then I noticed the small print: chicken meat, rabbit meat, pigeon meat, and three berries.
YAH: There was a My Melody itai car parked outside my metal fabricator. I thought the driver was a fellow Sanrio fan, but she told me she’s just a terrible driver. Every time she bumps the car, she covers the damage with another My Melo sticker.
YAH: Easter is somehow the most important holiday to me. Nothing special, just a creepy Easter Bunny that shares the same gurokawa register as my work.
YAH: Sidewalk abandonments often inform my video and sculptural assemblages, for example, my pigeon works. This time it felt like an adult iteration of what I’d already made. The shoes I used for image and text transfer were girls’ Mary Janes.
The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
Born in Guangzhou (China) and now based in London, artist Yasmine Anlan Huang has the “idol” as the core symbol of her research, where she looks at the dynamics of production of desire in relation to online intimacy and digital identities. Through an aesthetic that combines references to kawaii culture, school uniforms, and Victorian imagery, her work highlights the visual codes that structure innocence, discipline, and the spectacularization of the female body, while also interrogating the logics of dating apps and the fetishisation and perception of Asian girls within a Western gaze. We asked Yasmine to select visual bits that could invite us into her world of references and obsessions.
YAH: After visiting the replica of the space dog Laika at VDNKh, many years later, I came across this book: Soviet Space Dogs. Some of my work seems to share the same energy as this image - ribbons, a bouquet of stars, non-consenting innocent animals with unbearable narratives
YAH: I’m super into weird collectables and the psychological attachments behind them. I thought I’d seen every niche until I found magazines for used hunting supplies... The shock of a trap ad like this shifted my work, and hunting supplies started appearing later on.
YAH: The moment I saw the big text "Innocence Supply Station", I was like "OMG, isn't this my whole practice?!" Then I noticed the small print: chicken meat, rabbit meat, pigeon meat, and three berries.
YAH: There was a My Melody itai car parked outside my metal fabricator. I thought the driver was a fellow Sanrio fan, but she told me she’s just a terrible driver. Every time she bumps the car, she covers the damage with another My Melo sticker.
YAH: Easter is somehow the most important holiday to me. Nothing special, just a creepy Easter Bunny that shares the same gurokawa register as my work.
YAH: Sidewalk abandonments often inform my video and sculptural assemblages, for example, my pigeon works. This time it felt like an adult iteration of what I’d already made. The shoes I used for image and text transfer were girls’ Mary Janes.
The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
Born in Guangzhou (China) and now based in London, artist Yasmine Anlan Huang has the “idol” as the core symbol of her research, where she looks at the dynamics of production of desire in relation to online intimacy and digital identities. Through an aesthetic that combines references to kawaii culture, school uniforms, and Victorian imagery, her work highlights the visual codes that structure innocence, discipline, and the spectacularization of the female body, while also interrogating the logics of dating apps and the fetishisation and perception of Asian girls within a Western gaze. We asked Yasmine to select visual bits that could invite us into her world of references and obsessions.
YAH: After visiting the replica of the space dog Laika at VDNKh, many years later, I came across this book: Soviet Space Dogs. Some of my work seems to share the same energy as this image - ribbons, a bouquet of stars, non-consenting innocent animals with unbearable narratives
YAH: I’m super into weird collectables and the psychological attachments behind them. I thought I’d seen every niche until I found magazines for used hunting supplies... The shock of a trap ad like this shifted my work, and hunting supplies started appearing later on.
YAH: The moment I saw the big text "Innocence Supply Station", I was like "OMG, isn't this my whole practice?!" Then I noticed the small print: chicken meat, rabbit meat, pigeon meat, and three berries.
YAH: There was a My Melody itai car parked outside my metal fabricator. I thought the driver was a fellow Sanrio fan, but she told me she’s just a terrible driver. Every time she bumps the car, she covers the damage with another My Melo sticker.
YAH: Easter is somehow the most important holiday to me. Nothing special, just a creepy Easter Bunny that shares the same gurokawa register as my work.
YAH: Sidewalk abandonments often inform my video and sculptural assemblages, for example, my pigeon works. This time it felt like an adult iteration of what I’d already made. The shoes I used for image and text transfer were girls’ Mary Janes.
The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
Born in Guangzhou (China) and now based in London, artist Yasmine Anlan Huang has the “idol” as the core symbol of her research, where she looks at the dynamics of production of desire in relation to online intimacy and digital identities. Through an aesthetic that combines references to kawaii culture, school uniforms, and Victorian imagery, her work highlights the visual codes that structure innocence, discipline, and the spectacularization of the female body, while also interrogating the logics of dating apps and the fetishisation and perception of Asian girls within a Western gaze. We asked Yasmine to select visual bits that could invite us into her world of references and obsessions.
YAH: After visiting the replica of the space dog Laika at VDNKh, many years later, I came across this book: Soviet Space Dogs. Some of my work seems to share the same energy as this image - ribbons, a bouquet of stars, non-consenting innocent animals with unbearable narratives
YAH: I’m super into weird collectables and the psychological attachments behind them. I thought I’d seen every niche until I found magazines for used hunting supplies... The shock of a trap ad like this shifted my work, and hunting supplies started appearing later on.
YAH: The moment I saw the big text "Innocence Supply Station", I was like "OMG, isn't this my whole practice?!" Then I noticed the small print: chicken meat, rabbit meat, pigeon meat, and three berries.
YAH: There was a My Melody itai car parked outside my metal fabricator. I thought the driver was a fellow Sanrio fan, but she told me she’s just a terrible driver. Every time she bumps the car, she covers the damage with another My Melo sticker.
YAH: Easter is somehow the most important holiday to me. Nothing special, just a creepy Easter Bunny that shares the same gurokawa register as my work.
YAH: Sidewalk abandonments often inform my video and sculptural assemblages, for example, my pigeon works. This time it felt like an adult iteration of what I’d already made. The shoes I used for image and text transfer were girls’ Mary Janes.
The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
Born in Guangzhou (China) and now based in London, artist Yasmine Anlan Huang has the “idol” as the core symbol of her research, where she looks at the dynamics of production of desire in relation to online intimacy and digital identities. Through an aesthetic that combines references to kawaii culture, school uniforms, and Victorian imagery, her work highlights the visual codes that structure innocence, discipline, and the spectacularization of the female body, while also interrogating the logics of dating apps and the fetishisation and perception of Asian girls within a Western gaze. We asked Yasmine to select visual bits that could invite us into her world of references and obsessions.
YAH: After visiting the replica of the space dog Laika at VDNKh, many years later, I came across this book: Soviet Space Dogs. Some of my work seems to share the same energy as this image - ribbons, a bouquet of stars, non-consenting innocent animals with unbearable narratives
YAH: I’m super into weird collectables and the psychological attachments behind them. I thought I’d seen every niche until I found magazines for used hunting supplies... The shock of a trap ad like this shifted my work, and hunting supplies started appearing later on.
YAH: The moment I saw the big text "Innocence Supply Station", I was like "OMG, isn't this my whole practice?!" Then I noticed the small print: chicken meat, rabbit meat, pigeon meat, and three berries.
YAH: There was a My Melody itai car parked outside my metal fabricator. I thought the driver was a fellow Sanrio fan, but she told me she’s just a terrible driver. Every time she bumps the car, she covers the damage with another My Melo sticker.
YAH: Easter is somehow the most important holiday to me. Nothing special, just a creepy Easter Bunny that shares the same gurokawa register as my work.
YAH: Sidewalk abandonments often inform my video and sculptural assemblages, for example, my pigeon works. This time it felt like an adult iteration of what I’d already made. The shoes I used for image and text transfer were girls’ Mary Janes.
The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
Born in Guangzhou (China) and now based in London, artist Yasmine Anlan Huang has the “idol” as the core symbol of her research, where she looks at the dynamics of production of desire in relation to online intimacy and digital identities. Through an aesthetic that combines references to kawaii culture, school uniforms, and Victorian imagery, her work highlights the visual codes that structure innocence, discipline, and the spectacularization of the female body, while also interrogating the logics of dating apps and the fetishisation and perception of Asian girls within a Western gaze. We asked Yasmine to select visual bits that could invite us into her world of references and obsessions.
YAH: After visiting the replica of the space dog Laika at VDNKh, many years later, I came across this book: Soviet Space Dogs. Some of my work seems to share the same energy as this image - ribbons, a bouquet of stars, non-consenting innocent animals with unbearable narratives
YAH: I’m super into weird collectables and the psychological attachments behind them. I thought I’d seen every niche until I found magazines for used hunting supplies... The shock of a trap ad like this shifted my work, and hunting supplies started appearing later on.
YAH: The moment I saw the big text "Innocence Supply Station", I was like "OMG, isn't this my whole practice?!" Then I noticed the small print: chicken meat, rabbit meat, pigeon meat, and three berries.
YAH: There was a My Melody itai car parked outside my metal fabricator. I thought the driver was a fellow Sanrio fan, but she told me she’s just a terrible driver. Every time she bumps the car, she covers the damage with another My Melo sticker.
YAH: Easter is somehow the most important holiday to me. Nothing special, just a creepy Easter Bunny that shares the same gurokawa register as my work.
YAH: Sidewalk abandonments often inform my video and sculptural assemblages, for example, my pigeon works. This time it felt like an adult iteration of what I’d already made. The shoes I used for image and text transfer were girls’ Mary Janes.
The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
Born in Guangzhou (China) and now based in London, artist Yasmine Anlan Huang has the “idol” as the core symbol of her research, where she looks at the dynamics of production of desire in relation to online intimacy and digital identities. Through an aesthetic that combines references to kawaii culture, school uniforms, and Victorian imagery, her work highlights the visual codes that structure innocence, discipline, and the spectacularization of the female body, while also interrogating the logics of dating apps and the fetishisation and perception of Asian girls within a Western gaze. We asked Yasmine to select visual bits that could invite us into her world of references and obsessions.
YAH: After visiting the replica of the space dog Laika at VDNKh, many years later, I came across this book: Soviet Space Dogs. Some of my work seems to share the same energy as this image - ribbons, a bouquet of stars, non-consenting innocent animals with unbearable narratives
YAH: I’m super into weird collectables and the psychological attachments behind them. I thought I’d seen every niche until I found magazines for used hunting supplies... The shock of a trap ad like this shifted my work, and hunting supplies started appearing later on.
YAH: The moment I saw the big text "Innocence Supply Station", I was like "OMG, isn't this my whole practice?!" Then I noticed the small print: chicken meat, rabbit meat, pigeon meat, and three berries.
YAH: There was a My Melody itai car parked outside my metal fabricator. I thought the driver was a fellow Sanrio fan, but she told me she’s just a terrible driver. Every time she bumps the car, she covers the damage with another My Melo sticker.
YAH: Easter is somehow the most important holiday to me. Nothing special, just a creepy Easter Bunny that shares the same gurokawa register as my work.
YAH: Sidewalk abandonments often inform my video and sculptural assemblages, for example, my pigeon works. This time it felt like an adult iteration of what I’d already made. The shoes I used for image and text transfer were girls’ Mary Janes.
The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
Born in Guangzhou (China) and now based in London, artist Yasmine Anlan Huang has the “idol” as the core symbol of her research, where she looks at the dynamics of production of desire in relation to online intimacy and digital identities. Through an aesthetic that combines references to kawaii culture, school uniforms, and Victorian imagery, her work highlights the visual codes that structure innocence, discipline, and the spectacularization of the female body, while also interrogating the logics of dating apps and the fetishisation and perception of Asian girls within a Western gaze. We asked Yasmine to select visual bits that could invite us into her world of references and obsessions.
YAH: After visiting the replica of the space dog Laika at VDNKh, many years later, I came across this book: Soviet Space Dogs. Some of my work seems to share the same energy as this image - ribbons, a bouquet of stars, non-consenting innocent animals with unbearable narratives
YAH: I’m super into weird collectables and the psychological attachments behind them. I thought I’d seen every niche until I found magazines for used hunting supplies... The shock of a trap ad like this shifted my work, and hunting supplies started appearing later on.
YAH: The moment I saw the big text "Innocence Supply Station", I was like "OMG, isn't this my whole practice?!" Then I noticed the small print: chicken meat, rabbit meat, pigeon meat, and three berries.
YAH: There was a My Melody itai car parked outside my metal fabricator. I thought the driver was a fellow Sanrio fan, but she told me she’s just a terrible driver. Every time she bumps the car, she covers the damage with another My Melo sticker.
YAH: Easter is somehow the most important holiday to me. Nothing special, just a creepy Easter Bunny that shares the same gurokawa register as my work.
YAH: Sidewalk abandonments often inform my video and sculptural assemblages, for example, my pigeon works. This time it felt like an adult iteration of what I’d already made. The shoes I used for image and text transfer were girls’ Mary Janes.
The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
Born in Guangzhou (China) and now based in London, artist Yasmine Anlan Huang has the “idol” as the core symbol of her research, where she looks at the dynamics of production of desire in relation to online intimacy and digital identities. Through an aesthetic that combines references to kawaii culture, school uniforms, and Victorian imagery, her work highlights the visual codes that structure innocence, discipline, and the spectacularization of the female body, while also interrogating the logics of dating apps and the fetishisation and perception of Asian girls within a Western gaze. We asked Yasmine to select visual bits that could invite us into her world of references and obsessions.
YAH: After visiting the replica of the space dog Laika at VDNKh, many years later, I came across this book: Soviet Space Dogs. Some of my work seems to share the same energy as this image - ribbons, a bouquet of stars, non-consenting innocent animals with unbearable narratives
YAH: I’m super into weird collectables and the psychological attachments behind them. I thought I’d seen every niche until I found magazines for used hunting supplies... The shock of a trap ad like this shifted my work, and hunting supplies started appearing later on.
YAH: The moment I saw the big text "Innocence Supply Station", I was like "OMG, isn't this my whole practice?!" Then I noticed the small print: chicken meat, rabbit meat, pigeon meat, and three berries.
YAH: There was a My Melody itai car parked outside my metal fabricator. I thought the driver was a fellow Sanrio fan, but she told me she’s just a terrible driver. Every time she bumps the car, she covers the damage with another My Melo sticker.
YAH: Easter is somehow the most important holiday to me. Nothing special, just a creepy Easter Bunny that shares the same gurokawa register as my work.
YAH: Sidewalk abandonments often inform my video and sculptural assemblages, for example, my pigeon works. This time it felt like an adult iteration of what I’d already made. The shoes I used for image and text transfer were girls’ Mary Janes.
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