Born in 1971 in East Pauk Taw Village in Pyay Township, Hein Thit grew up during the time of heavy oppression from the military government but was fortunate in having the opportunity to learn art under the tutelage of various artists such as U Tin Aye, U Kyaw Lay, U Thit Lwin Soe and U Muang Myint Aung. In Andrew Randard’s publication – “Burmaese Painting – A linear and lateral history”, Hein Thit was recognised as one of the key modernist artist in Myanmar today.
In 1994, a student friend showed him a medical book on the female anatomy and this provided both the inspiration and reference for his art going forward. The nude had been frowned upon by both the military and the Buddhist establishment so having the female figure as the central theme was a protest in its own right. Comics, often the only access to any western culture in the 90’s, and waste materials make up the backdrop to the paintings which gives a satisfying balance of style, texture and reference. Hein Thit's initial fascination was through working in a comic shop in order to makes extra money to support his artistic aspirations.
He combines abstractionism with cartoons, heaving influenced by key Western protagonists. Like De Kooning, he paints the subject of women in bold brush strokes. He at first focused on abstract ideas without specific subject matter then, as mentioned above, switched to women figures in 2009; he has picked up the ideas bordering on pop art and mixed them up with his usual brush strokes. It seems that he wants to give the audience a different meaning produced by combining dialogues and manners in the comics with his subject of women. He will take the bold exclamations from the comic background and use this as guide to position his female figures, thereby ensuring a cohesive and connected piece.
in his studio in yangon