
Why He Sen matters
He Sen belongs to the generation of Chinese painters trained at the Sichuan Academy of Fine Arts in the late 1980s, where Zhang Xiaogang was among his professors, and he built a distinctive style around two recurring subjects: dark, photo-realist portraits of young women and reworked details lifted from classical Chinese landscape painting, rendered in an expressionist oil technique. His work sits in major public collections across China, Hong Kong, Japan, and Australia, and he has shown steadily with international galleries since the early 2000s, making him a documented, institutionally recognized figure in the contemporary Chinese painting market even though his secondary-market history is thin and unevenly recorded in public databases.
- Nationality
- Chinese
- Media
- Painting
- Movement
- Contemporary Chinese art, Sichuan school expressionism
- Education
- Sichuan Academy of Fine Arts (Sichuan Fine Arts Institute), Chongqing, Normal Department (teacher training), graduated 1989
- Signature motifs
- Photo-realist portraits of young women, Reinterpreted classical Chinese landscape passages
- Representation
- Primo Marella Gallery, HOFA Gallery
By the numbers
- Primo Marella Gallery; HOFA GalleryRepresented byMilan and London
- Sichuan Academy of Fine Arts, 1989EducationNormal Department; studied under Zhang Xiaogang
- 8 public institutionsMuseum collectionsIncluding M+, National Art Museum of China, White Rabbit Collection
- 2008First major New York exhibitionCome Together, Jack Tilton Gallery
Selected works
Click any work to view it full screen.
Biography
He Sen was born in 1968 in Kaiyuan, Yunnan Province, China. He studied in the Normal Department of the Sichuan Academy of Fine Arts (Sichuan Fine Arts Institute) in Chongqing, where he trained in the expressionist "Sichuan style" under teachers including Zhang Xiaogang, and graduated in 1989. After graduating he was assigned to teach at Chongqing No. 40 Middle School, then resigned in 1991 to work as an artist full time.
Through the 1990s and 2000s he developed his signature combination of dark, photo-realist images of young women and appropriated, expressionistically reworked passages from historical Chinese landscape painting. His profile grew internationally with a 2003 solo exhibition, "Out of the Red," at Primo Marella Gallery in Milan, and in 2008 he held "Come Together," described by critic John Yau as his first important exhibition in New York, at Jack Tilton Gallery. He has continued to exhibit through the 2010s and 2020s in Shanghai, Lugano, and London, including a 2012 solo show at Today Art Museum in Beijing and a 2021 exhibition, "Mindscapes," at HOFA Gallery in London. He Sen lives and works in Beijing.
Critical reception
Writing in The Brooklyn Rail in 2008 on the occasion of "Come Together" at Jack Tilton Gallery, critic John Yau situated He Sen among painters whose work engages with the entrepreneurial culture reshaping his generation in China, and described the show as built around two recurring types of painting: dark, photo-realist images of alluring young Chinese women, and expressionistic appropriations of details from historical Chinese landscape paintings. Yau also noted that while Gerhard Richter is sometimes cited as an influence, He Sen's work is, in his view, more indebted to David Salle, and that the artist's relationship to his historical sources works through appropriation rather than Western cynicism, an intuitive exploration of how traditional images can be carried forward through contemporary painting.
Market
He Sen's market is primarily a primary-market and institutional one, built through long-running relationships with Primo Marella Gallery in Milan and, more recently, HOFA Gallery in London, alongside placement in museum collections including M+ in Hong Kong, the National Art Museum of China, and the White Rabbit Collection in Sydney. He has appeared at major international auction houses, including a lot at Sotheby's "Contemporary Art Asia" sale in New York in 2008 carrying a pre-sale estimate of USD 15,000 to 25,000, but no confirmed, sourced record of a top auction price, whether for that lot or any other, could be established in publicly accessible auction and price databases as of this profile's date. Collectors should treat his secondary market as underdocumented relative to his exhibition and collection history rather than assume that no such history exists.
Selected exhibitions
| Years | Exhibition | Venues |
|---|---|---|
| 2000 | Women's Portraits | Red Gate Gallery, Beijing |
| 2003 | Out of the Red | Marella Art Contemporary, Milan |
| 2008 | Come Together | Jack Tilton Gallery, New York |
| 2010 | Illusory Scene | Primo Marella Gallery, Milan |
| 2012 | Conversing With The Moon | Today Art Museum, Beijing |
| 2017 | Journey to the East | LongMen Art Projects, Shanghai |
| 2018 | He Sen, Reinventing Traditional Chinese Art | Primae Noctis Art Gallery, Lugano |
| 2021 | Mindscapes | HOFA Gallery, Mayfair, London |
Museum collections
- National Art Museum of China, Beijing
- M+ Museum for Visual Culture, Hong Kong
- Fukuoka Asian Art Museum, Fukuoka
- White Rabbit Collection, Sydney
- He Xiangning Art Museum, Shenzhen
- Shanghai Art Museum, Shanghai
- Guangdong Museum of Art, Guangzhou
- Today Art Museum, Beijing
Authentication and provenance
No catalogue raisonne.
No catalogue raisonne has been identified for He Sen. The artist maintains his own exhibition and collection archive at hesen.org, and Primo Marella Gallery documents his exhibition history since 2003. Works are best verified through these gallery and archival records rather than a formal catalogue.
Primary reference: https://www.primomarellagallery.com/artists/73-he-sen/
What collectors should know
He Sen is a living, actively exhibiting artist with steady gallery support and a genuine institutional footprint, but he does not have a published catalogue raisonne, and his public auction record is not clearly established in accessible databases. Collectors should verify any specific work through the artist's own archive at hesen.org and through his representing galleries, Primo Marella and HOFA, rather than relying on catalogue documentation, and should treat any claimed auction "record" for his work with caution until it can be traced to a named auction house, lot, and sale date.
Further reading and resources
Data current as of 2026-07-16.

