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Artist seeks to draw viewers into new realm
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IT is rare that an artist’s work is closely linked with the theory of “access consciousness.”
Perhaps visitors to the solo exhibition of George Y. Ho will open their consciousness to enter another spiritual world guided by the artist.
Ho’ exhibition featuring installation, video and paintings conjures up a serene and pious aura that wafts over the spacious exhibition hall.
His paintings always possess a trans-temporal and trans-cultural character, shuttling between different religions and societies. When pondering in front of his works, one cannot help but think of the Universal Source brought up by the Greek philosophers in their discourse on aesthetics.
For his recent works, Ho takes on an occult approach and adopts a mandala-style circular form as the main format.
This circular imagery not only matches the invisible operating procedure of the universe but also relates to the prototypic iconography in both Eastern and Western civilizations.
However, some seemingly very orderly arrangements in these artworks actually came about by chance. The artist confessed that almost all of the colors in the tableau were picked coincidentally, and therefore the final outcome of each piece was not predictable.
“Surprisingly these compositions of chance turned out to be ingeniously balanced, each showing individual character, and a gauge of the energies that created them,” Ho explained. “In other words, although the selection of colors is by chance, there is a hidden pre-destined order: Art does imitate life.”
Born in 1968 in Taiwan Province, Ho was educated in the United States since the age of 11. He received his BA in visual environmental studies form Harvard University and pursued further studies in painting and sculpture at the New York Studio School in New York City. In 2003, he moved his studio to Taipei, capital of Taiwan.
Ho is also engaged in the theory of “access consciousness.”
“I am more interested in rendering to the visitors the experience both spiritually and visually,” he said.
Crystal singing bowls are placed at each end of his 15 huge hanging paintings. Made by melting very fine and pure silicon sand into a mold, these crystal singing bowls are the ideal replacement for traditional Tibetan acoustic instruments, the Himalayan metal singing bowls.
The low audio frequencies emitted from striking and rubbing the bowls resonates with the frequencies of nature and also penetrates deeply into the visitors to generate a consonance with his inner frequencies.
The artist intends to portray for the visitors the tranquil ambience of nature and the openness of the universe with a carefully designed visual and acoustic energy field to evoke inner peace and serenity.
Date: Through November 9, 10am-6pm
Address: Bldg 9, 140 Tianlin Rd
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