On the scissors. It may be known because most of his works represent scissors. So, I easily recognized one of his works from the The Sanya collection, as in the auction was not assigned a name.
I try to understand the other two works; they can be a landscape from Sanya I did not found it or a tower of oil or an airplane landing. I do not know, but in the same way that the blue background conveys tranquillity in a sunset, the red transmits strength and pain.

Finally, on march 08 I discovered what its mind: an island. Surfing between auction results I saw a picture from an auction at China on May 07 titled Island no.4 (2005).

This work and the other two of the Sanya collection keep the issues of Mao Xuhui represented in the series of Paternalism, the chair with the icons. In this pictures it’s much more intensive because the chair remains alone, isolated in an island and at the meantime the chair dominates the island and the whole picture. In the Sanya collection, two years later the sunshine overwrites the clouds.

Therefore, the works in Sanya are so important, they are the translation of the issues of Mao Xuhui (scissors and paternalism series) with classical tools, bringing simplicity to them against the more complex oil on canvas.

Below another work from 1991, titled Parents in the mirror. It means that the chair is a man and a woman? A unique man and a woman in a desert island when the sun rises or  at sunset?