Drawing / Painting

“Xiàtiān xiàtiān qiāoqiāo guòqù liú xià xiǎo mìmì” (19/10/1996 8:05 a.m.-11:45 a.m.) (2024)

The MORTAR BOARD® Exercise Book (2023)

THE CRYING WALL (I, II, III, IV, V, VI, VII and VIII) (2022-2023)

Black Earth (2022-2023)

An Imitation of Albrecht Dürer‘s male portrait (2022)

An Imitation of Albrecht Dürer‘s female portrait (2022)

Zurab (2022-2023)

Kígyóvőlegény (The Serpent Bridegroom) (2022)

Elegy Never Sings (I and II) (2022)

Aśvattha (in the coffin) (2022)

Amnesiac Room (2021)

Elegy Never Sings (I and II) (2022)

Wood, Soil, Mineral Pigment, Metal Foil and Ink on Paper | 196 x 44 cm (size variable)

Photo credit to Ho Ting, at New Asia College Hong Kong.

Elegy Never Sings (2022) — a diptych of drawings with found objects gives a re-enchantment of symbolism. The judicious use of colour, ornamental details, and symmetrically constructed and flattened perspectival space implied a mythical realm of the artist.

Bukovina, the hometown of Paul Celan (1920-1970), is a historical region of nationality complexity. The medieval portraitures of the drawings struggled to reinterpret the psychological landscape of Psalm (1963) of Paul Celan.

Horizontally, Ho is delving into the post-socialistic displacement attachment and the death of anonymous. She always carried a Chinese aphorism: "Borrow the mourning hall to cry out one's sorrows" to manifest her laborious craftsmanship.

„Niemand knetet uns wieder aus Erde und Lehm,

niemand bespricht unsern Staub.

Niemand.“

— Psalm (1963)

滿手時間的弧舟，

無人再從大地與土壤捏出我們，

無人祛去倒樹根基的邪，

無人