人類終其一生尋索生與死、性與愛、耗費與工作等命題，藝術作為一項中介，究竟是點醒盲從的人群？還是一場狂歡後的寂寥？藝術世界運行的模式，早已將人們拋諸場域外；更多的是以藝術之名，讓星點般初萌的新芽在一場場展覽中獻身。

而今，在大敘事急流中感到荒蕪，似乎更為直觀的藝術表現——創作者自身存在的意義，已不再令人感到新奇，創作者必須被包裹成一段文或句，乃至一粒句讀——在敘事文體之內。

「秘術」不再遮掩，不只揭露自身，藝術家黃諺哲更解構家庭和社會潛藏的支配慾，在作品、在表演、在人與人間交錯的空隙中，在綜合感官交織的場所裡，凝視人性。

Throughout a person’s life, we are struggling with life and death, sex and love, sleeping on life and working. Art as a medium, does it wake people up? or just a post-party depression? Also, the operation of the art world has already left people behind. Furthermore, in the name of art, the new borned devote themselves in one exhibition after another.

Now, it seems like feeling barrened in the metanarrative is an intuitive expression of art. The existence of the artist is no longer novel, they need to be presented in a narrative essay as a paragraph of a sentence or even a punctuation.

In HEX, artist Huang Yen Che is not concealed anymore, he not only exposed himself but also tried to deconstruct the hidden domination within society and family. He is gazing at humanity with his work, in the performance, between relationships and in the sensory space.