ALL Artist

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1989 born in Shandong Province

2012 graduated from the school of Chinese Painting, Central Academy of Fine Arts

Currently works and lives in Beijing




The Third Powerlong Art Award "Yaju" Chinese Contemporary Hue Art Exhibition, Powerlong Museum, Shanghai, China

The 7th "Stars Project" Youth Contemporary Art Exhibition, Tree Art Museum, Beijing, China


Youth Koans - 2019 Guan Shanyue Art Museum Youth Meticulous Painting Exhibition, Guan Shanyue Art Museum, Shenzhen, China

2019 National Outstanding Young Artists (Calligraphy and Painting) Talent Achievements Exhibition, Yanhuang Art Museum, Beijing, China

The 18th New Works Exhibition, Capital Library, Beijing, China

"Grew up with My Motherland" Beijing Youth Fine Arts Exhibition, Today Art Museum, Beijing, China

"Be-cause of Painting" Painting Invitation Exhibition, Xiangshan Art Commune, Hangzhou, China

The 5th Art Suzhou International Exchange Exhibition in 2019, Guoyunlou, Suzhou, China

From the perspective of art language, Ecce Homo adopted the Western geometric formal language to depict the natural symbol in traditional Chinese art – Taihu Stones. As far as the underlying sentiments he concerned, Mao Jia implied the dark side of his heart in these works. The pointy geometric shapes may be his emotional desire. He associated these shapes with The Picture of Dorian Gray by Oscar Wilde and the relationship between the figure and the picture. When I asked him why he named this series in a foreign language, he explained: “ ‘Ecce Homo’ means ‘Behold, the Man!’ in Latin, which is derived from Bible and was used by Nietzsche as the title of his autobiography. Therefore, there are many meanings being attached to this term, including suffering, autobiography and awareness of human.” His series, New Vision, can be regarded as an extension of certain elements in Ecce Homo. -Jia Fangzhou (Art Critic)