SF Ho

SF Ho is an artist living on the unceded Coast Salish territories of the Squamish, Musqueam, and Tsleil-Waututh peoples. In the wake of the 1966–67, Hong Kong riots, Ho’s parents came to Turtle Island in the 1970s, eventually settling between the suburbs of Toronto and London, Ontario. In London, Ho attended South Secondary School, went to summer camp at Museum London, and participated in the early days of the Unity Project.

S F Ho’s  practice considers intersections of culture, history, and embodied experience from racialized, queer perspectives. Informed by a background in photography and performance art, they often incorporate language, sound, and gesture into their work. They also spend a lot of time thinking about math, plants, and perfume. They’re into community building, books, and being sort of boring. Ho has notably presented work through Simon Fraser University Galleries, Hangar (Lisbon), Art Metropole (Toronto), Galerie oqbo (Berlin), RAM Galleri (Oslo), the University of Toronto’s Justina M. Barnicke Gallery, and the Vancouver Art Gallery. Their creative and critical writing has been published through House House Press, SPEC/FIC, Modern Painters, c magazine, West Coast Line, INTER: art actuel, Dysfyction, The Capilano Review, Charcuterie, Western Front, VIVO Media Arts Centre, and the Kitchener-Waterloo Art Gallery.

Since 2018, they have served on the Governance Committee of VIVO Media Arts, guiding the organization through crucial strategic planning initiatives while chairing the board of directors.  

They founded Slow Wave Small Projects, a land-based art gathering that prioritizes low-income, disabled, BIPOC, and QTIPOC2S practices. They wrote a book about aliens and love called George the Parasite. Their chapbook Green Lines was shortlisted for the Expozine Alternative Press Awards. Visit S F Ho's website for more information.

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Money Mirror  by S F Ho

“Money Mirror,” 2020, digital photo

“Money Mirror,” 2020, digital photo

“Now money, when it moves into a new tribe, very quickly creates an image of the food, craft, and work there: it gathers around them, holds to them, stays away from the places where none are to be found, and clots near the positions where much wealth occurs. Yet, like a mirror image, it is reversed just as surely as the writing of a piece of paper is reversed when you read its reflection on a boy’s belly. For both in time and space, where money is, food, work, and craft are not: where money is, food work and craft either will shortly be, or in the recent past were. But the actual place where the coin sits fills a place where wealth may just have passed from, or may soon pass into, but where it cannot be now—by the whole purpose of money as an exchange object."
 
​Samuel Delany, “The Tale of Old Venn," Tales of Nevèryon series
Thanks to Helen Chau Bradley for assistance with this work.

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Other work by SF Ho

Distance #1 + #2 (2016)

花4HK (2019) Video 28 min

Sound Place Memory (2018–ongoing). Workshop, artist book, letterpress, installation

vplvplvplvplvpl (2019) Performance with Alexa Mardon. Photo documentation by Juan Contreras.

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