From the early period of his creative work, with his appropriation of realistic images, to his gradual development of a more radiant and emotional abstraction, Huang Yuxing's creative outlook has always been rooted in his thinking about the relationship between people and their world. Huang hopes, in the raging torrents of our world's often bizarre and absurd history, to capture just a few moments of its flow, to show the difficult-to-grasp state of human affairs. In Treasure, the artist constructs from the rich colors on his canvas a view of gorgeous, glowing crystals: the multiplicity of ovals, crystals, nets, and whirlpools continue to replicate, overlap, collide, and fuse together, releasing a dazzling, multi-colored light. We seem to be viewing something like the moment when cells divide and reproduce, yet they exude at the same time the special optical effects, and the eternal aura, of gems underneath a bright light.
For Huang Yuxing, the geometric lines in Treasure, both rational and random, are actually deeply reserved and informed with their own logic; they represent his thinking about human wisdom and energy, especially in today's information society, with its ceaseless whirl of technology, information, media and instantaneous change. Through these abstracted spots of light, screens, and networks, the artist insinuates certain meanings about that information society, communicating his realizations about the life, places, alienation, and destruction that meet all the things in this universe. In Bruce Nauman's flashing neon work Life, Death, Love, Hate, Pleasure, Pain,(Fig. 1) pairs of opposing terms revolve and flash, capturing the eternal instability and unknowability of life; here, Huang Yuxing employs flamboyant neon colors and fragmented images, set within a deep background, to reproduce the kaleidoscopic life experiences of the contemporary man and woman.