Karilynn Ming Ho is a Vancouver-based interdisciplinary artist working with video art, performance, multi-media installation, theatre, sculpture and collage.
[1] Her work draws on existential themes as a means to examine formal and conceptual ideas around performativity as it relates to screen culture and the mediated body.
[3] Where Where There There (2012) In the Peta Rake review of 'Where Where There There' (2012)in Canadian Art Magazine the writer states, "Interestingly, this video installation examines common social tropes that unfold behind and in front of the camera, and are both self-conscious and familiar—all the while addressing the possibilities of the performance of a banal series of events for a contemporary audience.
"[5] Love Is Just A Four Letter Word (2014) In Karina Irvine's meditation on 'Love Is Just A Four Letter Word' (2014), Irvine illuminates the ontological and existential lens through which Ming Ho communicates the difficult and complex, "performance and capitalism share a reptile pattern involving a multiplicity of performing bodies and objects in an ongoing drive for more and an endless perceived lack that finds its reenactment through language gestures and objects, while analyzing this dynamic her art also broaches the bodies inseparability from its image.
"[6] For the Left Hand Alone (2017) In Yishu Journal of Contemporary Chinese Art, the writer Mandy Ginson’s examines Ming Ho’s last work, ‘For the Left Hand Alone’ (2017) by asking,”How do we make sense of the very real cognitive and physiological operations triggered by merely looking, and how do we then distinguish between the conceptual categories of, “the real” and the “virtual?” Raising the ontological and conceptual nature of Ming Ho's work.