Yeni Mao (b. 1971, CAN) received a BFA from The School of the Art Institute of Chicago, and subsequently trained in foundry work in California, and the architectural industries of New York. His work has been featured in numerous international exhibitions. Most recently, Mao presented a site specific installation with AGUAS in the special projects section of Untitled Art Fair. Recent solo exhibitions include “Vol 1: Cowboys” with guadalajara90210 in Guadalajara, “Regatta” at Munch Gallery in New York, and “Whiskey Papa” at Zidoun-Bossuyt Gallery in Luxembourg. He has participated in a large variety of group exhibitions and projects, including the IX Bienal De Artes Visuales Nicaraguenses, Arróniz Arte Contemporáneo, Anonymous Gallery, Present Company, Allegra LaViola Gallery, Invisible-Exports, and Andrew Edlin Gallery. Mao 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 The New York Times, Time Out New York, The Advocate, The Village Voice, and the Bangkok Post. Mao lives and works in Mexico City.

Yeni Mao was born in Guelph, Canada, and spent his developmental years in the United States, Taiwan, and Sweden. Mao is a queer artist of Chinese descent. His parents, born in Malaysia and Shanghai, moved to North America in pursuit of academic careers in science. The traversing of various regions established an awareness of altered perceptions of history and the malleability of cultural truths. After earning his BFA from the School of the Art Institute of Chicago, Mao’s dedication to craft led him to San Francisco to apprentice in foundry work. Shortly thereafter, Mao relocated to New York, where he concentrated his efforts in architectural concept and fabrication. Mao’s practice is heavily influenced by both the theory and practice behind the architectural modernist movement, specifically the relationship between craft and production, modernism as a malleable state, and the concepts of hope, failure, and domination. Mao’s practice begins with the layering of these interests over his own history.






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