Interface of Delights-- George Ho's Solo Exhibition
George Y. Ho’s Spirit Resonance
By Toshio Shimizu
I visited artist George Ho in his Taipei studio in August 2017. On this hot day during the dog days of summer I had the chance to view works of his from his early to most recent periods.
George Ho’s early works were heavily inspired by Greek mythology. Many of them hung like tapestries, commanding my attention. Greek mythology is an expansive universe, in which similar actors weave their own phenomena, and myths in common become the basis for sharing similar essence. Myths are real to the Greeks. Not imagined or just literature, they represent an outlook on the universe, and more so their faith - one that can be said to be the origin of all things.
To outsiders mythology is merely the product of the human imagination. However, to the greater community, myths are the real fabric from which the superstructure is formed, and reality exists tangibly outside of our subjective perception. These thoughts were on my mind as I strode into George Ho’s creative workspace.
The studio is spacious with high ceilings. One large piece hangs from the highest point, shining brilliantly. Viewed closely, it becomes clearer that it is constructed from many pieces of polyester canvas painted with different images and sewn together into one luminescent hanging. A recent painting hangs on the wall below it. Ho allowed me a look at all of his latest works, guiding me in a most interesting way. This series of works does not follow a conventional order from top to bottom and left to right, but rather can be freely put together. George told me that although these images are situated horizontally, he started painting them from the perimeter. Of course, works were never supposed to have top, bottom, left and right in a conventional sense. The works are brightly colored, with blues, greens and yellows setting the tone; yet they do not become paired, but can rather be matched at will. Everything can even be viewed upside-down, as observers can view them from any perspective they like.
Ho relates that for him, painting exists on different real plane in real life, where works of art bridge the two. Consequently there is no absolute up, down, left or right relationship, and images are not merely works, but a passage between the two actual realms.