Curator: Shaun Dacey
Vancouver-based artist Karilynn Ming Ho uses the metaphor of phantom limb syndrome to explore themes of fragmented realities in a time when bombardment by digital information leaves many people feeling physically and mentally disconnected and disenchanted with reality. Set to the musical commissions of Paul Wittgenstein (a one-handed pianist), For the Left Hand Alone frames phantom pain as an unrequited longing, an incomplete figure, and the feeling of uncertainty in an increasingly disembodied world.
RICHMOND ART GALLERY AT CANADA LINE
In partnership with Richmond Public Art and Capture Festival
This spring the art gallery partners with Capture Photography Festival, City of Richmond Public Art Program and InTransit BC to present a series of photo-based installations at the four Canada Line stations in Richmond (Bridgeport, Aberdeen, Lansdowne, and Brighouse).
At Aberdeen Station, Karilynn Ming Ho’s alluring installation Mirror Flower, Water Moon utilizes deceptive technologies. The images are derived from Universal Adversarial Perturbations (UAP), visual textures and algorithmic vectors meant to disarm, confuse and deceive artificial intelligence. Ming Ho’s images show us tactics and technologies that deceive, connecting natural and digital actions that are just beyond the reach of human perception. The title, Mirror Flower, Water Moon is from a Chinese proverb, denoting something that can only be seen, but not grasped — like a flower in a mirror or the reflection of the moon in the water.
Karilynn Ming Ho is a Vancouver-based interdisciplinary artist working with video, performance, multi-media installation, sculpture and collage. Her work draws on existential themes as a means to examine formal and conceptual ideas around screen culture, technology, performativity and the body. Ming Ho has exhibited in solo shows across Canada including the Glenbow Museum in Calgary, Trinity Square Video in Toronto, Optica Centre d’art Contemporain in Montreal, and Khyber ICA in Halifax. Her work has been screened widely in film and performance festivals in Canada, the US, and France.