The genuine conviction of the necessary juxtapose of the old and the new for the future of the world is splendidly expressed by Sin-ying Ho through her handcrafted ceramic art.
The artist's Universal Existence series tells stories of humanity’s progression elegantly and quite vividly, particularly in her monumental vessels. Primarily produced in *Jingdezhen, China where she made her first visit in 1996. A city popularly known as “Porcelain Capital” where it has been producing pottery with historical records that date back to 200BC, during the Han Dynasty, which fittingly vibrates her work-of-art.
The narrative of the artist painted on the vessels reflects upon globalism, the transformation of human nature through historical eras, by the economy, cultural influences and presently with fast changes due to technological advances.
The magnificent vessels range from H 77”/ 196cm, H 68”/ 173cm, and H 48” / 122cm. And a collection of "deconstruct & reconstruct", sculptural form, in table sizes that are handcrafted in New York City.
Born and raised in Hong Kong, Sin-ying grew up during the British colonialism which has a big influence on her upbringing pondering the two worlds. She considers herself as a global sapien due to her worldly travel to multicultural cities and sees her life as a universal existence.
Sin-ying Ho has taught and run workshops, lectures, and exhibitions all across Canada, as well as from Metropolitan Museum of Art and Harvard University to Hong Kong and Jingdezhen. Her work has been exhibited in the U.S., Canada, China, Hong Kong, Taiwan, Korea, France, Germany, and Romania.
The artist’s commissioned art can be seen at Michelin Star restaurants in Hong Kong and some fine five and six stars hotels in Asia.
* Historical records shows the earliest pottery records back to around 200BC during the Han Dynasty, the city had a different name then. And in 1004, in the Song Dynasty, the city became a major kiln site. By 14th century in the Ming Dynasty, Jingdezhen became a major Chinese porcelain production site. It was then designated as the official kilns under the emperor ruling which much of the pieces were used as Imperial ware ordered by the court and used by the emperors, as gifts.