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and self-portraiture are further challenged.
Walking on Two Balls and Gravity Loop have confronted the physical experience of what we think we know, what we think we should expect. The juxtaposition between environment and experience become a micro-enquiry altering the perception of the space occupied in the physical world and the
This partnership is a conscious awakening of the senses
This partnership is a conscious awakening of the senses, which questions the substance of human action and ultimately becomes a macro view of perception and pre-conception.
Ho’s oeuvre has sought to redirect expectation and transfer the rhythms of normality. Through a variety his explorations into the physicality of material. crafts and craftsmanship, he has extended the exploration between body and material – altering
his own perspective to the opposite point of view, thus re-directing attention to the relationship between the material world and the bodily. This line of enquiry seeks to question how the processes the body, its position and posture.
From the process of carving two wooden balls from a single tree in the piece Walking on Two Balls to Making Brick, the synthesis of body and material draws out both essence and co-existence. The body adapting and accommodating the demands of the material, just as the material evolves to the request of the man.
In his creative processes and outputs, Ho’s work opens up dimensions of awareness that reach out beyond the image or experience of an artwork, to rather become an echo of substance that resonates through the normality of the everyday - re-aligning perspective and perception not as a lightening bolt of realization but as the whisper of an inner voice.
Standing Above the Water Level has this extended daily, and asking for contemplation or consideration of the boundaries of our bodies and echoing in our spaces and the world we occupy.
Sung, Ying-sing, Exploitation of the
Work of Nature, Ming Dynasty, 1637. Translated by Li, Chiao-ping, China Academy, Taipei, 1980. Maurice Merleau-Ponty, The Phe- nomenology of Perception, Paris 1945, translated by Colin Smith, Routledge, London and New York, 2002. P 239.
Ho, Siu- Kee, From Sung, Ying-sing to Maurice Merleau-Ponty - “Crafts- manship”, “Bodily Synthesis” and “Art Practice”, White Text, Hong Kong: Hong Kong Art School, 2005 (issue 1), P35-50.
Gravity Hoop
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