The imagery of Ho's sculpture has its roots in the ancients, like the Hindu and the Mayan. Representational and figurative, the work is a product of extensive travel, a thousand ink drawings, free expression, immense deliberation, imaginative clay play and labor.
Ho's images are primitive, naive or brut, yet primal, they are fluid and sophisticated. They are excessive and complex, tribal and surreal, cosmic and baroque. They are intuitive translations of a fluid-like imagery that lend themselves to scenario, beyond monsters or gargoyles, to other beings. Intricate, tactile and visually intriguing, each image is a continuous play on our physical and emotional features. Ho's sculptures are fun and funny, and they are a satiric visual representation of his world view. They are anthropomorphic creatures and fantastic icons.
Ho calls his figures "gods for future religions." Recently, in a book with that title, Ho weaves a story of a mythical kingdom where his surreal sculptures play Jungian archetypal roles. Seventy sculptures are boldly and beautifully displayed along with his lively interpretation of his imagery. A Kirkus review coins the book part monograph, part manifesto and “H.R. Giger meets Keith Haring, illuminated by the artist’s engaging insight.”