Painting of red glass water bottles in front of a white background. Some of the bottles are distorted and bent at unnatural angles. The brush strokes are extremely expressive, which suggests a force of anger or affliction within the artist. Similar to the artist’s other paintings of water bottles, this image also carries an implication of sexuality. Each bottle has a justified place in this painting. However, there is a certain harmony amongst all the bottles together. On the matter, Yang has said “This is not, of course, the only clue through which one gets access to understanding my painting, as some critics see sexual implications in the gigantic wine bottles and water pipes, expression of or opposition to the principles of "alienation" in the twitched body parts with outstanding veins, or such qualities as "generosity" and "unconstraint" of the subject". For me, all the works have a similar name, i.e. solitariness. Solitariness is, in the eyes of the solitary, a grinning but beautiful flower. It is nourished by misery and tears, as flower is by sunlight and water. To accept and adopt solitariness is to experience the divine favor, to praise inspiration in the darkness” (https://digital.kenyon.edu/zhoudocs/370/). (Nicole Wang ‘26).