Meet the artist using immersive technologies to transform the boundaries of performance and art

«In 2025, we will see a change in how audiences engage with art. The lines between physical and digital performance spaces aren`t just blurring, but are being completely reimagined», says Yi-Han Chou, a new media artist and choreographer whose work spans film, installation, interactive design, and immersive technologies. «What excites me most is creating experiences that respond to human movement in real-time, where technology becomes an extension of the performer rather than just a backdrop».

Audrey’s personal brand of creativity is the product of multiple disciplines and cannot simply be confined by the traditionally recognized boundaries and definitions. Her work, showcased through Not Just A Label (NJAL), the offbeat designer platform for contemporary fashion, represents a new breed of artist who moves fluidly between physical performance and technological enhancements. The result is a complete reimagining of what art can be in the digital age.

The rise of immersive fashion and performance

The immersive fashion market is experiencing explosive growth, projected to expand from $2.42 billion in 2024 to $2.97 billion in 2025, entailing a 23 percent year-over-year increase. This illustrates a shift in how consumers engage with fashion and art, moving from passive observation to active participation.

«My work integrates real-time sensor systems and interactive audiovisual light systems into choreographed performances and installations», explains Yi-Han Chou, «I`m blending traditionally separate disciplines, such as contemporary dance, real-time visuals, and interactive spatial sound, into unified audience experiences».

While real-time technology has been common in media arts and stage productions, it remains relatively rare for independent choreographers and performers to develop custom systems that shape the live experience without major institutional backing.

Bring together the physical and digital realms

In the fields of dance, new media art, and immersive performance, a major challenge today is how to meaningfully integrate technology without losing human presence and emotional resonance. Yi-Han Chou notes, «I am trying to find a balance between the use of technology and the moving body, hoping that the use of technology can communicate presence, but not take away or limit the body’s abilities to express».

Her solution involves creating scalable, artist-driven models for real-time interactivity that empower small and mid-sized productions to innovate without becoming dependent on expensive commercial software or external technical directors.

Digital identity and expression going into the future

As 2025 progresses, the merging of fashion, performance, and digital identity has become a dominant trend. Digital avatars, virtual clothing, and immersive experiences are no longer futuristic concepts but present realities in how people express themselves.

«Through my prototypes and performances, I`ve contributed to expanding expectations of what emerging choreographers and artists can integrate into their work without major institutional backing», says Chou, who holds degrees from Parsons and NYU and has been nominated by NYU to speak at AIGA Fresh Grad.

Luxury brands are now increasingly turning to immersive technologies to create exclusive experiences that were previously impossible. Virtual flagship stores now allow customers to «walk through» digital versions of physical boutiques, with AI-powered assistants providing personalized attention.

«What`s particularly fascinating about this evolution is how it`s changing our relationship with physical space», observes Chou. «We`re seeing designers create experiences that couldn`t exist in the physical world, pushing what`s possible in ways that were unimaginable even five years ago».

The human touch in an increasingly digital world

Yi-Han Chou remains a believer in the human element. Her performances explore the connections between embodiment, cultural identity, and diversity, drawing inspiration from the natural world and existentialism. “I think the research provided me with a foundation for my creative practice and aesthetic choices,” Chou has said about her approach. «As my practice developed and became more specialized, research felt more essential for understanding the foundation of what I`m trying to communicate».

She adds, «I would love to create something like Punchdrunk`s production, but on a more diverse level with my personal experience. I think there is less work in the world that is recognized from an Asian and female artist`s perspective. For me, that is a unique experience, and it is completely different from a Western historical framework».