Scarlett Yang is an artist whose practice exists at the intersection of ecological narrative, material intelligence, and technological speculation. Educated in both art and engineering at Central Saint Martins, the Royal College of Art, and Imperial College London, she brings a hybrid perspective to her practice.

Working across sculpture, installation, and time-based media, Yang investigates the poetics of transformation—how matter, identity, and systems are shaped by environmental conditions and digital generative processes. Her research-led approach explores themes of entropy, mutation, and adaptation.

Yang is also the director of MTEX, a consulting research studio focused on emerging innovations.

She has received multiple awards, including the LVMH Green Trail Award and Rolls Royce MUSE Art Program. Exhibitions include the V&A Museum, Christie’s, Somerset House, Center for Heritage, Arts and Textiles, and the London Design Biennale.

  • Climate Data Live simulations, Interactive audiovisual experience installation

    Size Variable

    Exhibited at: Christie’s Lates, London

    Sound in collaboration with: Dimitris Menexopoulo

    Director of Photography: Simon Van Parijs

  • Commissioned by: Vancouver Art Gallery, Canada

    Biomaterials shells, electronic robotics with 3D printing capabilities

    150 mm *130 mm * 80mm

    12 editions

    Inspired by garment production's weaving and construction processes, Recursive Materiality instrumental-ize the role of responsive fabrication as a lens to materialise human-machine interactions.

    Building on the Studio’s long term research work on biomaterials, this work investigates on the future of decision-making processes within a hyper-generative system.

  • “From physical to digital, material to immaterial.”

    Laboratory experimentation-led project which resulted in the creation of a glass-like garment made from algae extract and silk cocoon bio waste. The garment's sensitivity to its environment and ability to biodegrade highlights the study’s key focus on sustainability. 

    The project relied on 3D technologies to generate, predict and fabricate models of the design object, serving to consciously minimise waste - by contrast to the unsustainable nature of the fashion sector.

    Supported by: TANGO OPEN, Kyoto, Japan; Kyoto Design Lab