The Emergence of Pop Art in China
Pop Art emerged in the United States after World War II. In 1960s, the development of mass and popular culture gave rise to the development of American Pop art. Pop art enthusiasts favor direct and bold visual imageries, and the Pop aesthetics are often characterized by the use of bold colors and visually stimulating imageries. In early 1980s, Andy Warhol visited China. Later in 1985, Robert Rauschenberg's solo shows were exhibited in Beijing and Lasha. These two events introduce American Pop Art to Chinese artists. At the time, China was undergoing dramatic social and economic changes. China's open-door policy led to the cultural exchange between China and the West. Internally, the Government introduced economic policy and the social structure started leaning towards capitalism. Western art thoughts inspired many younger Chinese artists at the time. Many young artists strived to create freely without constraints and eventually “1985 New Wave Art Movement” occurs. For Wei Guangqing, who had just graduated from Zhejiang Academy of Fine Arts in 85, he was inspired by American Pop art.

"85 New Wave Art Movement" and Wei Guangqing's Chinese Pop Art
The New Wave Art Movement is a significant and crucial art movement in the history of Chinese Contemporary art, symbolizing the changes and development of contemporary art in China. Among the participants, Wei Guangqing and Wang Guangyi pursue Pop Art and are considered to be the leading members of Chinese Pop.

Passing through History and Reality
Wei Guangqing's Pop art traces history and culture in China, incorporating the rich and traditional elements of Chinese culture into his Pop. His early works such as Zhu Zi's Family Maxims manifests the artist's preference to incorporate woodblock illustration as part of the painterly composition. Red wall as the symbol of Chinese culture forms the background of the piece. Above the woodblock illustration is the photographic film which is a metaphor of the current era of photocopying. Zhu Zi's Family Maxims is a well-known ancient classic publication that advocates moral values. Wei Guangqing found that it is important to extract the good morals from traditional teaching. For instance, traditional Chinese culture stresses the importance of hierarchical social structure. Yet, it advocates love and justice. Wei found that love and justice is essential in today's fast-paced world. Wei embeds the traditional culture and values into his pieces and hopes to show the contrast of the current needs and existing problems as opposed to the past. In Wei's later works such as Jin Ping Mei, Made in China, Thirty-six Stratagems, Wei juxtaposes traditional wood carved images against the colorful stripes and characters that symbolize today's world. History and present are constantly placed in the same pictorial contexts in Wei's Pop art.

Social Reflection on Wei Guangqing's Cultural Pop
When we examine each series of Wei's paintings, we can often see that the themes and messages are related to the current social development of China. For instance, in Jin Ping Mei series, instead of depicting the red wall, Wei employs new types of signs – bar codes and color stripes. The bar codes which appear on commercial goods or the color stripes which may see on television reflect the consumerist culture in China. The woodblock illustration of Jin Pei Mei also suggests the love and sexual relationships in ancient times. Wei deliberately discolored the part of the woodblock illustration to make it seem transparent, for mysteriousness has been an important element in the Oriental culture. Another example is the Sun Tzu's Art of War series. Sun Tzu's Art of War shows the tactics of war. Like his other works, he composes the woodblock part with the detailed depiction of the stories. However, here, he places the shooting targets and chess as the background. Wei seems to suggest the complicated international relations in today's world.

Superimposition, Metaphor and Interaction of Images
Most of Wei's works are depicted in bright colors. The superimposition and juxtaposition of images create stories, messages and metaphors. Indeed, when he depicts the transparent woodblock section, he would project the original draft painting onto his canvas for enlargement, and then painstakingly paints each line and stroke by hand. The fuzzy silhouette of the woodblock resembles the rice calligraphic paper. Such is Wei's intention to reinforce the message of history. The superimposition of images and characters creates a metaphorical alignment and a sharp contrast between the present and the past. Wei is concerned about the interaction with viewers. He hopes to evoke the viewer's concerns: Where is the bottom line of the development of economy, politics and morality? What are the choices we have and how should we choose it? It is his hope to capture the spirit of directness and vitality in Pop art. Yet his Pop differs in that he expresses a visual story and inner connotation of Chinese culture. Wei Guangqing's pop art reflects the interrelated relationships of culture, politics and history throughout the ages.

Wei Guangqing --- The Icon of Chinese Cultural Pop
Born in Huangshi, Hubei in 1963, Wei Guangqing graduated from the Department of Oil Painting of China Academy of Fine Arts (Former name was Zhejiang Academy of Fine Arts) in 1985. Currently he is Professor and Dean of Hubei Institute of Fine Arts. Wei Guangqing actively participates in the important "1985 New Art Wave Movement" in China. Along with Wang Guang Yi, they represent “Hubei Pop" in the history of Contemporary Chinese art.  The exhibition "Memories and Superimposition" will feature 20 pieces of Wei Guangqing's oil and acrylic paintings.

Wei Guangqing’s early work, Red Wall --- A Harmonious Household, painted in 1992, was exhibited and awarded Academic Prize in the “First Biennial Art Exhibition of Guangzhou” at the Guangzhou International Conference and Exhibition Centre. His other major exhibitions include: “Zuo Tu You Shi: Historicizing Pop Art” at He Xiangning Art Museum and OCT Contemporary Art Centre, Shenzhen, China (2007), “Made in China” at US Asian Cultural Academy and Library of Congress, Washington, United States (2007), “Made in China---Wei Quangqing’s Paintings” at Fine Arts Museum of Hubei Institute of Fine Arts, Wuhan, China (2005).