The “flowers” are given expression in different forms, like colors, details-adding techniques, water streaks, ink flavor, lines, taste, etc.

The series were drawn on newspaper media of Southern Weekly and Reference News to reflect on the current social situation.

By applying ink lines on the newspaper, Wang Huangsheng redefined how we read and also integrated his artist practice with social reality.

The traces gauze residues leave and the ink as well as the reality and cultural information between the newspaper and the rice paper become a metaphor for harm and protection, restoration and sublimation.

Barbed wires, as ready-made material for art, are sharp, pliable and tough, so they are metaphoric of ink as well as social violence.

Sharp wires are pressed through the fragile glass tube, leaving shards scattered on the ground, shining in riotous profusion.

Seeing the moving and poetic light and shadow replaced by barbed wires, viewers may experience an inspiring visual and perceptual shock.

The installation Haunts1 was made site specifically for the exhibition The Garden of Mystery: Wang Huangsheng Art Works in Suzhou Museum.

The images of the multiple videos appeared across the wall ceilings in the space filled with old furniture, just like the history shadows overlapped with virtual souls, telling the heroic, complex and forgotten story.

The conflict of human nature, the contradictions between ideals and survival desires, and the transformation between history and present living conditions all have been concentrated in the maze.

In the space, the artist applied tons of glass and mirror fragments to create an expression about the unique features of the history, such as blurred, broken, positive and negative, fiction and fact.

As is pointed by Wu Hong, an expert on art history and curator,"Boundaries are everywhere, both visible and invisible, between here and there, now and then, reality and aspirations, safety and adventure.

"[citation needed] In Wang Huangsheng's art, lines have been gradually transformed from a primary language for the two-dimensional world into part of the methodology in installation with 'spatial intensity', redefined space, and extended to be a metaphor of the historical memory and reality in universal experience.