Gold Mountain is a Hong Kong-based sound artist, composer, and rapper whose practice focuses on real-time experimentation, textual expression, and the structural tension of live performance. Completely self-taught across their disciplines—including freestyle rap, production, composition, and mixing as a form of sound manipulation—their work prioritizes raw process, live dramaturgy, and structural relationships over traditional performative aesthetics. Rather than hiding the technical execution of electronic setups, they treat the physical gear and its potential for failure as active elements on stage, exploring how technology and its unpredictable breakdowns shift the tension of what is being expressed in real time.

Words and structural sound function as overlapping materials in Gold Mountain’s practice. They constantly explore diverse forms of wordplay and highly visual, imagery-based text, a methodology currently expanding into the creation of their first forthcoming chapbook of poetry. This integration of underground cadence and focused literary research recently led to their formal debut within academic literature, co-authoring a publication as a published rapper alongside Professor Bob Whalley. Simultaneously, as a composer, they channel this focus into experimental sound design, manipulating aspatial sound, feedback loops, and noise to challenge traditional listening limits.

This focus on structural tension and immediate risk-taking has seen Gold Mountain move directly into large-scale multidisciplinary collaborations. In screen composition, they made their formal feature debut writing additional music for Kenji Tanigaki's Hollywood action film The Furious (2026). In contemporary dance, early foundational development with Hong Kong’s Unlock Dancing Plaza saw them step immediately onto major international stages, including a debut scoring for radical Hungarian choreographer Adrienn Hód (HODWORKS) at Trafó House in Budapest.

Today, they operate fluidly between commercial architectures and the avant-garde—from composing campaign scores for bodies like the Hong Kong Tourism Board and HKSTP to integrating live sound design and performance for the Guangdong Modern Dance Company (GMDC). These threads culminate in Unpromptu, a live performance ecosystem that treats real-time voice, live handwriting, and custom AI visual scripts as an unbroken, improvisational dialogue. Bypassing standard technical safety nets, the project serves as a real-time experiment in navigating absolute chaos while remaining entirely present. This season, they will feature at the Hong Kong Performing Arts Expo (HKPAX) 2026, debuting a cross-genre project with the jazz collective Fountain de Chopin, alongside an international pre-expo showcase with Denmark's Uppercut Dance Theater.

stephanie mei huang is an (inter)disciplinary artist. She uses a diverse range of media and strategies including sound, film/video, installation, social interventions, sculpture, writing, and painting. She sees slippery, chameleonic identity as a form of mimetic infiltration: a soft power reversal within hard architectures of power. Born and raised by a family of mechanical engineers, an auto-industry baby, huang is particularly dedicated to analog forms of mechanics, refusing haptic loss, vision, and supervision, and stressing the intimacy, imperfection, tactility, and functionality of objects, vehicles, and machination.

She completed her MFA in Art at the California Institute of the Arts (2020), and received her BA from Scripps College (2016). Select solo and group exhibitions include the Autry Museum of the American West, De Sarthe (Hong Kong), murmurs (Los Angeles) Sargent’s Daughters (Los Angeles), Jeffrey Deitch Gallery (Los Angeles), Artists Space (New York), Hauser and Wirth (Los Angeles), Pulpo Gallery (Munich), Contemporary Calgary (Calgary), the MAK Center for Art and Architecture (West Hollywood), 4th Ward Project Space (Chicago), Los Angeles Municipal Art Gallery (Los Angeles), the New Wight Biennial at the University of California Los Angeles (Los Angeles), and the Arizona State University Art Museum (Tempe).

huang has been featured in the New York Times, South China Morning Post, CNN, Tokyo Shimbun, PBS Artbound, ABC7 Eyewitness News, and Artsy. Her writing has been published with Asian Diasporic Visual Cultures and the Americas, Artsy, and Contemporary Art Review Los Angeles.

She has taught at non-profits such as the Marfa Studio of Arts and Venice Arts. She was a participant at the Whitney Museum’s Independent Study Program(2022). She has lectured at the California Institute of the Arts, Pratt Institute of Design, University of California San Diego, Otis College of Design, Pitzer College, Scripps College, and Hampshire College.