Hua Jiming

Born: 1964
Hometown: Hubei Province
Current City: Beijing
Hubei Institute of Fine Arts

2015 Micro Art Fair,Jiuceng Art Museum, Beijing 

2015 Ten Thousand Gods, Chinese Contemporary Art’s Zen Family Exhibition,  Songzhuang Contemporary Art Literature Museum,  Beijing

2015 Action Plan 3, Songzhuang NO! SPACE, Beijing

2014 ‘Riverside District from 1996 to 2004′ Group Exhibition , Songzhuang Art Museum, Beijing

2014 Contemporary Art Exhibition, Yihailangqioa Art Salon, Beijing

2014 Dissolved, Songzhuang Art Exchange Exhibition, Dou Jiao Art Museum, Beijing

2012 Culture · Desert, Ordos Kubuqi Contemporary Art Exhibition, Ordos, Inner Mongolia

2011 Retrospect and Prospect, Hubei Oil Painting Art Exhibition, Wuhan

2010  City Art Festival, Cape Town

2009 13 No Kaos, Duffy Gallery, Kunming

2008  Chinese Contemporary Art Invitational Exhibition, Manhattan Asia Center, New York


Hua Jiming believes that great art must give us a taste of the artist’s ideas or opinions, so he uses an honest yet humorous method of expression to reveal his thoughts, hoping to bring an understanding smile to the face of the viewers.

Hua Jiming uses bright and eye-catching colors, and includes elements of pop art and popular themes to reflect his own understanding of society and art.

In 20 Maos, he portrays Mao Zedong in various ways – some humorous, others dignified. “For this artwork, I spent two years collecting images of Mao. I used a grid pattern on the canvas to show Mao’s omnipresence in our society, in his many different guises.”

Hua Jiming uses a graffiti-like style in many of his works. The seemingly randomly stitched-together canvases actually follow a precise personal sequence in their creation. History of Western Art, for example, is composed of images from different periods of Western art. The images came from a book of the same title, and the artist copied an exaggerated depiction onto the canvas. He says the creativity happened “naturally” — the first works he came across in the book are given a larger space on the canvas, while the later ones are tucked in between them. This is a reflection of how Western Art History has been perceived and arranged.