About Amanda Ross-Ho and his art

Amanda Ross-Ho

Los Angeles — Cherry and Martin presents its first solo exhibition of Los-Angeles based artist Amanda Ross-Ho’s sculpture, photograpy and installation.

“WE CAN'T GET ENOUGH, BECAUSE THERE'S TOO MUCH,” states Amanda Ross-Ho. Using images pulled from a wide range of cultural material—drug-seizure websites and self-help books, newspaper clippings and holiday craft manuals—Amanda Ross-Ho locates sites within culture’s representational flow, carving out designated points of focus. Recognizing that contemporary culture moves not as a linear narrative, but rather as a string of analogies, Ross-Ho proposes intersections between seemingly unrelated images and objects. Ross-Ho presents her images and objects not only on the floor and walls, but also on armatures of her own making.

These armatures, built from sheet rock, wood and latex paint, enlist the architecture of the gallery space itself as yet another point of 'intersection.' Ross-Ho’s sculptural, photographic and installation-based works create new spaces within the limitations of the gallery. They attend to economies of presentation within culture at large and demand careful consideration from the viewer of sites within which ‘work’ is presented. Read the entire article here Source: cherryandmartin.com

Kitchen Sync

Amanda Ross-Ho makes choices in the space of seven breaths—an ancient Samurai practice. Just as well, as rapid-fire decision-making defines the work and life of this 31-year-old Chicagoan, who is exploding into the art world. When I speak to her, she is putting the finishing touches to her masters thesis at the University of Southern California and preparing for her debut at LA’s hottest new gallery, Venice’s Cherry and Martin.

A trip to Mexico for the MACO fair follows. “I work best at fever pitch”, says Ross-Ho. “The eleventh hour ends up being when most clarity presents itself”. Ross-Ho describes her work as ‘interdisciplinary:’ she uses found objects, photographs, drawing, painting and video with a strong performance element. Remnants and leftovers are crucial to her work, much of which consists of the detritus of domestic life—the stuff crammed into that kitchen drawer where nothing belongs or is of much use but is fervently held on to, or the junk in the bottom of a handbag.

For most of us this crack is the bane of our existence, but for Ross-Ho it is her reward, what she calls her ‘unresolved dividend,’ from which profound ideas evolve. “Once you have cleaned and organized everything, it’s the stuff that doesn’t really have a place—that’s the unresolved dividend”, she says. “It’s an interesting principle, for giving those things a place, not only a place but a partnership”.

Ross-Ho is big on partnerships: disparate homeless objects are strung together to create a new organism. In “100 Arranged Marriages, an older work, items are bundled together with elastic bands—a police badge and a cardboard loo roll, dollar-store earrings and a plastic yellow dinosaur”. “Black Widow” pointedly stands alone. A doily—another domestic object found on the periphery—is painted black and rendered large on canvas.

Hung on the wall, it looms like and enormous spider’s web or shamanic wheel. Some material comes from the vestiges of an evening in the studio: beer cans, bottles, corks, string, wrappers or deflated balloons, an empty stage bearing the footprints where musicians played. Sometimes it’s the marks left on a wall where the painting was hung and then removed.

Read Entire Article about Artist Amanda Ross-Ho paintings and artwork at The Saatchi-Gallery http://www.saatchi-gallery.co.uk/artists/amanda_ross_ho.htm

Article Source: http://www.rightarticle.com

View Amanda Ross-Ho paintings, biography, solo exhibitions, group exhibitions and resource of Amanda Ross-Ho. View art online at The Saatchi Gallery - London contemporary art gallery. Amanda Ross-Ho

Please Rate this Article

5 out of 54 out of 53 out of 52 out of 51 out of 5 

Not yet Rated