「通過繪畫發掘潛伏在平庸生活表層下的另一面。」
醉癱的宴席賓客洋相盡出，狀況離譜；抑或是小學生用智能電話、平板電腦到戶外「寫生」。將這些我們已習以為常的社會現象逐一定格，會發覺蠻滑稽荒謬。在她筆下，它們妙趣橫生，因速寫的本質，成了誠實的記錄。她眼中的眾生相，在世界各地的畫廊展出，讓人笑開懷，更讓人笑壞。
黃海欣，生於台北，現居紐約布魯克林，擅長將社會政治議題融入作品而能保持輕快調子的藝術家。她將自己逛博物館所看見的日常，在紐約大都會藝術博物館（MET）參觀時從旁觀察的畫面，輯錄成畫冊《沒有未來》。描繪美術館贊助人的神經質、珠光寶氣的老太太們圍看赤身石膏像認真得出神的情景，幽默百態驚喜處處。而《現在過去式》是只有3.7厘米闊、4.7厘米高的袖珍本，能握在手中的火柴盒大小，每一頁都是《沒有未來》當中的眾生相人物特寫。人像裝在小格子內就像一扇窗口，讓人身處外頭仍能看透內為何物。
她在台北的首賣會現場更將原作印成海報貼到牆上，並把原有的博物館職員與觀者的臉容消除，讓大家填上自己的臉又或惡作劇地塗上朋友或任何你想要開他玩笑的人，這種設置看來充滿惡趣味，但在博物館內被畫下的也真可能是你和我啊！
“Through drawing, discover the other side hidden under the outer layer of mundane life.”
Guests at a banquet, being blind drunk, make an exhibition of themselves, presenting an unbearable sight; or primary school children go outdoors and create “life drawings” with their smartphones and tablet computers. When we attempt to capture each and every such social phenomenon we are so used to, we will realize how funny and ridiculous they are. Under her brushes, they are brimming with humor and wit; executed in the form of rapid sketches, they represent an honest record. Various kinds of people, as seen through her eyes, have been put on display in galleries all over the world, making one laugh a hearty laugh, or split one’s sides with laughter.
Hai-Hsin Huang, born in Taipei and currently based in Brooklyn in New York City, is an artist adept at blending social and political issues into her works without losing their light-hearted mood. She has compiled the ordinary life she observes at museum visits, as well as the scenes before her eyes as a spectator at The Metropolitan Museum of Art (MET) in New York City, into an album of paintings titled There is No Future. She depicts neurotic behaviors of arts museum sponsors, and a group of old ladies ablaze with jewels forming a circle around a plaster nude statue, on which they fix their eyes with deep concentration. With a range of human behaviors captured, each page is packed with pleasant surprises. Now is the Past is a mini-sized book measuring only 3.7 centimeters in width and 4.7 centimeters in length, the size of a matchbox you can hold in your hand. Each page features a picture zeroing in on human characters depicted in There is No Future. Pictures of people framed in a small box are like windows allowing people from outside see through what is inside.
At the venue of her album’s fresh release in Taipei, she has even transferred her original pieces to posters, with the facial appearance of museum staff and observers erased so that visitors can fill the void with their own faces, or mischievously, those of their friends or of anyone they want to poke fun at. This installation appears to be of a mischievous nature, but it might really be the faces of you or me being drawn inside the museum!
