102 x 48”. Fiber, sewing pins, and nails mounted to wooden beam. 2019.
Inspired by the artist’s family story of migration from Vietnam to America.
Curated for: Artists’ Television Access Gallery
For more info, see “Peace Chimes” 2017.
110 x 75 ”. Paper, thread, sewing pins. 2018.
“Pieces of Vietnam” is a reflection and homage to Ho’s Vietnamese ancestry. This installation was made in response to her trip to the country with her mother in April 2018, where she gathered bits of pieces of her family’s past and migration story of survival to America, a mental activity she’s indulged in since a child. Woven into the piece are symbolism inspired by her family’s history and culture: spirit dresses, boats, windows, and doors. Here, she explores open, closed, and empty spaces of her origin story.
105 x 87”. Fiber and nails. 2018.
In comparison to some of Ho’s previous work, “Rain” is also a most simple and raw tapestry made of nails and string mounted to a wall. The installation is intentionally fragile and temporary, a metaphor to the quality of life itself, serving as a tool for self-reflection. In addition, this piece was displayed alongside a sound recording of rain by co-founder of Problem Library, Grayson Stebbins. In April 2018, Ho hosted a meditation and art gathering at her art studio where she led a guided meditation to the sound of rain under the presence of her installation.
8' x 8'. Paper, fish-wire, and glue. 2017.
Like "Peace Harps", "Peace Chimes" was made as a visual and "sonorous" tool to speculate the concept of peace. Wind and light are integral elements, making the installation indeterminate as it constantly reflects the changing conditions of the climate. As in previous installations, "Peace Chimes" contrasts the hustle-bustle environment of urban Oakland and the business of modern culture at large. For example, the installation therapeutically invites the viewer to slow down in order to detect its movements. In addition, the installation attempts to translate sound into visuals, each piece of paper representing one "sound" and the whole as a chorus.
95 x 90". Fiber, nails and glue. 2017.
Consisting of three looms mounted on a wall, the "Peace Harps" is a sensory and atmospheric installation. The viewer is invited to pluck the silent strings of the harps and participate in the radical act of deep listening. Each harp is laced with small beads that are invisible at first glance, rewarding the viewer that decides to engage with the work intimately with their sight or touch. The installation proposes silence as an active sound to be listened to and offers a tangibility to the intangible concept of peace.
88 x 75". Fiber and nails. 2017.
"Northern California" is a fiber "painting" on a large loom mounted to a wall. Rather than using the traditional method of weaving which strategically stacks layered patterns of weft threads on top of one another, the loom was utilized as a canvas and the yarn as paint. With intention, none of the weft threads were secured and instead hung loosely as a metaphor to the fragility of our ecosystem's health. In addition, the installation's intention is to bring awareness to the beauty that is often covered up by the overwhelmingly busy culture of the Bay Area.
Photo by: Dora Tsui