The sculptural practice of Yeni Mao engages in issues of fragmentation, equations of the body and architecture, and material alteration in of itself. Working with the agency of materials, objects and building systems, Mao emphasizes the tension between both their embedded and perceived significance in a play of recognition. The fractured methodology of assemblage relates to our own political, national, and spiritual formations. This collection of gestures is a divination, assembled from diverse sources, defining a condition. Transformation as a state of being. Mao pits the physical and psychological properties of restraint, domination and order against the chaos of the visceral human condition. The works are cyborg constructions that play with architectonic suggestiveness, placing importance on absence through a circumstantial framework. Mao layers his own personal histories over the expansiveness of these concerns, most recently the projects are based in family mythologies.

Mao received a BFA from The School of the Art Institute of Chicago, and subsequently trained in foundry work in California and the architectural fabrication industries of New York. Mao lives and works in Mexico City. Mao’s work has been featured in numerous international exhibitions. Most recently, Mao presented the solo exhibitions “Yerba Mala” at Campeche in Mexico City, ”I desire the strength of nine tigers" at Fierman Gallery in New York, and a public sculpture with Brooke Benington in London. Among the many group exhibitions he has participated in are “Otrxs Mundxs“ at Museo Tamayo in Mexico City, “Transnational” at Proxyco and “The Waste Land” at Nicelle Beauchene in New York; and The IX Bienal De Artes Visuales Nicaraguenses in Nicaragua. Mao is a recipient of the Pollock-Krasner Foundation Grant 2021, and has been awarded multiple residencies including Casa Wabi in Mexico, The Lijiang Studio and Red Gate Gallery in China, The Fountainhead Residency in Miami, OAZO-AIR in Amsterdam, and Flash Atöyle in Turkey. Mao’s work has been written about in Art in America, The New York Times, Time Out New York, The Advocate, The Village Voice, and the Bangkok Post.






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