[2][3] Her artworks can be found in the permanent collections of the Hanwei International Arts Center, Beijing, and Museo Nacional de Costa Rica, San José.
She is the daughter of Pik Luen Li Kan and Tak Fu Fung Ng, who fought in World War II.
[5][6][7] The family immigrated to Costa Rica, which Man Yu's father selected because of its lack of army.
In addition to approach the aesthetic from figurativism, concepts such as motherhood, nostalgia, marriage and women in general are addressed too.
The series combines Japanese geishas and Chinese operas with Man Yu's explicit purpose of reflecting that despite the insistence of the Japanese and Chinese people to differentiate themselves and not be confused together, the essence of femininity in their traditions and allegorical aesthetics are similar and projected to the West where they are received with the same cultural perception.
[13][16] Inspired by a childhood painting, Man Yu decided to start a new series of works, Traje Humano (Human Suit).
[28][29][30] According to the Latin American art magazine Hypermedia Magazine, the Traje Humano project caught the attention of the Costa Rican and Central American art scene, not only because it was the first time that so many artists joined to expand the work of a single living artist and for making of the first massive nude public in the region,[28][31] but also because it set a precedent in the cultural management of the region by also involving for the first time a wide portfolio of public, private and independent collaborators who supported a project of social and humanistic public exhibition with art.