The Good Times series reflects a major shift in both subject matter and style for Guo Wei. From 1990 to 2010, individual and small groups of urban youth have been the subjects of Guo’s work, depicting the awkwardness of adolescence. In the faces and poses of his youthful subjects, one sees not only the great potential of youth, but also uncertainty and vulnerability. His work during this period reflected his interest in the evolution of Chinese society after the economic reforms and opening to foreign influences that began more than 30 years ago. Guo’s paintings from that period also explore the expanded significance of the individual in a newly capitalist society that only recently de-emphasized collectivism. Prior to 1978, the only individuals that merited depiction in art were leaders, heroes and model workers.

In the Good Times series created in 2010, Guo Wei begins to look back on the changes he has seen during his five decades of life. With these three works, Guo has chosen specific images to represent three major themes in modern Chinese history. Good Times No. 1 depicts the Crucifixion, reflecting the suffering and sacrifice endured during multiple wars, famine and upheaval. Good Times No. 2 represents idealism and soaring hopes, and is based on an old photo of Chairman Mao and Lin Biao, a key Communist military leader who was named Mao’s successor during the Cultural Revolution. Good Times No. 3 reflects a period of vacuous pop culture and decadence.

A word from The Artist

For one person to truly understand another is like two flying bullets meeting in midair - the probability is very low. I want to capture this alienation and present it through my own perspective.