He links his mother's story with the story of "Auntie Huang", another
woman from southern China's Shenzhen city, where many cloth factories
get their money from Taiwan. The two women share a similar background:
Both went to cities from the countryside and ended up working on such
Huang put up a youthful photo of his mother at the exhibition venue
and a photo of the other woman facing away from the visitors. Near them
he has placed a stack of jeans made in the factories of Taipei and
Shenzhen, with the words, "Sorry, I don't have an off today", projected
on a nearby wall.
"In Taiwan, nobody cares about personal stories. People always focus
on the economy, finance and business. That's why I try to look at the
very small universe of individuals," says Huang, who was one of the
Shanghai-based sculptor Yang Mushi also dwells on individuals. His
installation-like sculpture on show, called Grind, displays several
groups of objects in different formations - some look like piles of
timber and some like sharpened pencils. The articles, placed on a large
aluminum plate, took two years to make at a Shanghai factory. He then
darkened their surfaces with lacquer.
He says the objects reflect the various states of his mind.
"I felt rather pessimistic and pained during the production process. I
saw the materials becoming smaller inside the machines, and felt my own
life fritter away."
He sees the process as a confrontation with his "other" side that
easily blends into the social mainstream. He says the work helps him
cool down, release his anxiety and maintain a distance from his
Zhang Wei, a Beijing-based photo artist and awards nominee, says many
young artists today "simply sell ideas or depend on impulse to create".
"But when one reaches middle age, an artist should rely on his experiences to go on."