Oeuvre of Wang Yuping (1962, Beijing) is a long way from rational metadiscourse pursuing the ideal life based on the political ideology that has been sensed frequently from other Chinese Contemporary art works. Rather, he studies the relationship between arts and living on the basis of his life time experience while being beside the point of currently pervasive recognition or inflammatory, compelled ideas. Also, Wang finds the subject matters for his work around him, such as people who he comes across on the street or objects and scenery that are presented every day in his life. In spite of the subject matters seen from his work, we can sense the hidden side of the narration with trivial round of daily city life in Beijing as well as the trace of futile ideologies. This is because any great discourse follows with the transcendental thinking structure necessarily, and because every individual life is deeply inset with the social norm already set by affiliate group of the time and the circumstance. In this sense, daily life of the artist cannot be separated from the narration and the political ideology atomistically.
Through the Cultural Revolution, the intellectual in China experienced the wretched frustration and failure from the overturned value system, which aroused mistrust on the world. At the same time, the arts lost its function and turned to be a paradigm of the power. In the given situation, to cope with the standardized structuralism the artists with aesthesia driven to the dead end scrutinized the individual value and respected the differences among them. By drawing the daily life experience, which human and environments relentlessly interact, Wang has embodied the essence aspect of new meaning and value of the individual life that is eclipsed by the structuralism.