“If there is a life after this, I would rather be a dog than a human; to be a human being is very exhausting”. That's how Mrs. Wang, Mrs. Duan and Mrs. Yu feel. They are cab drivers in the Chinese metropolis of Xian, colloquially called “taxi sisters”. For more than 10 years they've been driving now, for a minimum of 10 hours a day, every single day of the year – and driving a cab here is no easy task. With work being a strain, contracted debts piling on the pressure, and having to corrupt officials, crooks and gangsters, each day means a real challenge. But while most of their former colleagues are out of work, the “taxi sisters” are considered lucky, as they manage to make their living. We join these three women cruising their city and visit them at home after work. Their touching stories tell us intriguingly about the everyday reality of an uncompromising scheme of economic growth in China. An hommage to the art of survival in hard times: “We don't believe in God or Satan, we just believe in us”.

That is a memory of my sophomore year of 1989, the year I was almost killed. Twenty years have passed, mothers' hair have grown gray, and siblings' tears have been exhausted, Silence, oblivion and denial have erased our memory and made everything that happened obscure and distorted, Changing the unreal into reality. Facing the souls of the deceased people, Can our memory resist this indifferent world' Can our conscience tell the truth?

I have an overwhelming interest in humanity as expressed through micro synthesized physical consistency and variation. I focus on the undesirable, such as wrinkles on the face, the texture of the tongue, and blemishes on the skins surface. Recognizable landscapes, human or otherwise, merge, inducing a convergence of perception. The process is expressed through meditational transformation, like life itself, and might remain in a state in fluctuation. I paint overlapping layers to imbue a sense of motion and texture. As the layers build up, the figure is obscured behind the details, allowing the whole of the painting to be highlighted at a glance or as a gesture.

The video takes off from film genre conventions, and moves into a mixture of self-generated mythology and history with extravagant use of cinematic languages. Ambiguity and complexity are the strongest sensations when experiencing this piece. Through beautifully arresting images, the film explores the uncertainty and complicity between love, sex, violence and death, provoking a temptation of the inextricable aesthetical dislocation of contemporaneity. Further, Huang pushes this subject to a limit by using all male actors in the film rather than conventional syntax of such, which is a malicious deconstruction of power, order, regimentation and value. The outcome of film is complicated in its own beautiful superficiality; the ambiguity makes us quickly question our own feeling towards the queerness of image but also the instinctive blithe reaction to the beautiful fact of image. The viewer has to complete the story for themselves somehow, and so elicits their own desire. Huang produces an intoxication of the rationalised aesthetical irrationality of contemporaneity.