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.