Mao Mass Art: Yu Youhan

“Why did I paint Mao? I did so in part as a memorial to my past political life. I borrowed the method of Pop art and elements from Chinese folk art to represent an ordinary Mao in a way of resilience, a little humor, and few critical remarks, all mixed with a little admiration. I am proud that he is no longer a sacrosanct god in my paintings; he becomes an ordinary person.”
- Yu Youhan

Yu Youhan grew up during the Cultural Revolution, which had a profound affect on his artistic work and life. Upon enrollment in college, the painting department stopped recruiting and teaching students. Without a formal education in painting, Yu relied on Cultural Revolution posters for inspiration: “he copies iconic posters used by the government using colorful imagery which appear to be mocking the figures at first glance.” Thus, Mao appears joyful and lively rather than oppressive (Artzine). While he borrows imagery from Western culture, he relies exclusively on Chinese techniques.

Yu believes that Chinese modern art should be “rational,” “critical” and “creative.” These three elements are his trinity: first one must analyze what Chinese contemporary art lacks, then they must critically evaluate it and finally they should create the new art. “It is a pity that few Chinese artists hold these three elements. Many of today’s artists paint while looking at curators and collectors for approval," he says. "They nod and they go on”
(Artzine).





				“Why did I paint Mao? I did so in part as a memorial to my past political life. I borrowed the method of Pop art and elements from Chinese folk art to represent an ordinary Mao in a way of resilience, a little humor, and few critical remarks, all mixed with a little admiration. I am proud that he is no longer a sacrosanct god in my paintings; he becomes an ordinary person.” - Yu Youhan Yu Youhan grew up during the Cultural Revolution, which had a profound affect on his artistic work and life. Upon enrollment in college, the painting department stopped recruiting and teaching students. Without a formal education in painting, Yu relied on Cultural Revolution posters for inspiration: “he copies iconic posters used by the government using colorful imagery which appear to be mocking the figures at first glance.” Thus, Mao appears joyful and lively rather than oppressive (Artzine). While he borrows imagery from Western culture, he relies exclusively on Chinese techniques. Yu believes that Chinese modern art should be “rational,” “critical” and “creative.” These three elements are his trinity: first one must analyze what Chinese contemporary art lacks, then they must critically evaluate it and finally they should create the new art. “It is a pity that few Chinese artists hold these three elements. Many of today’s artists paint while looking at curators and collectors for approval," he says. "They nod and they go on” (Artzine).