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HO SIU KEE


cognitive discourse between the body and the environment it inhabits, giving the works a timeless quality with direct reference to the understanding of the body.


The timeless essence of Ho’s work feeds into its resistance to be categorized artistically or geographically. Geographic freedom is due in part to his own creative journey from undergraduate study in Hong Kong, to his Masters in the United States and his Doctor of Fine Art in Australia. His international exhibitions have included the 23rd International Biennial of Sao Paulo in 1996 and the 49th Venice Biennial  and in 2012 he was invited to become an Associate Member of the Royal British Society of Sculptors ARBS, London, UK.


This active global spread has given a human collective quality to his work, which responds to the organic transformation of time itself, retaining its context and evolving in the perpetually changing environments of each viewing. His work challenges the assumptions of basic human awareness, forcing a re- assessment of these basic functions. Do we


p 15 AWARENESS, PERCEPTION AND UNDERSTANDING


really acknowledge or consider the space our bodies inhabit? How does this change in  surrounding environment? And how does an  conceptions of those basic functions?


Ho’s journey into this questioning has taken  from the material order of the world, expounded in Exploitation of the Work of Nature, Sung, Ying-sing in the Ming Dynasty, 1637 to The Phenomenology of Perception, Maurice Merleau-Ponty, “we are in the world through our body…we perceive the world with our body.”


The recognition of the temporal nature of body and environment is a key element which Ho’s work responds to as stimuli identifying the “cognitive reaction” which is omnipresent in everyday life. There is no need to set any boundary for art.”


Sculpture without boundaries is an apt way to describe his creative output, which connects bodily perception and response to material elements as agency for exploration. And, with


Walking on 2 balls


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