HE WRITES STRAIGHT WITH CROOKED LINES
FOST Gallery is delighted to present HE WRITES STRAIGHT WITH CROOKED LINES, a solo exhibition by Hanson Ho and his first with the gallery.
Across 13 new sculptures, Ho explores the tension between notions of Man as both artistic creator and a created being of nature. Subject to the human condition, he navigates the world while participating in a smaller act of making within a greater, unseen order. In expressing his thoughts, he is at once the maker and the made — a human being shaped by forces beyond himself.
A single dot marks the origin on paper — an initial point from which lines and forms emerge. The act of drawing becomes meditative; through repetition and movement, the lines begin to echo the rhythms of the human condition. Straight lines suggest precision, control, efficiency, and the desire for order or a prescribed path. In contrast, crooked lines evoke imperfection, error, and randomness, while also embodying surrender and a sense of natural beauty. Their rises and falls mirror the human experience: an upward pull toward questions of death, spirituality, and transcendence, and downward movements into suffering, doubt, and fallibility.
Within these shifting, chart-like trajectories lies the space of free will — where one navigates choice, belief, purpose, and growth amid adversity. Even in their irregularity, the lines suggest a quiet coherence when viewed from afar, hinting at a deeper order that holds both the straight and the crooked, reflecting the tensions within human nature itself. They converge into abstract forms, their imperfect edges evoking deterioration and the passing of time, underscoring the fragile nature of existence. In turn, the forms become emotional landscapes — open-ended and contemplative.
FOST Gallery is delighted to present HE WRITES STRAIGHT WITH CROOKED LINES, a solo exhibition by Hanson Ho and his first with the gallery.
Across 13 new sculptures, Ho explores the tension between notions of Man as both artistic creator and a created being of nature. Subject to the human condition, he navigates the world while participating in a smaller act of making within a greater, unseen order. In expressing his thoughts, he is at once the maker and the made — a human being shaped by forces beyond himself.
A single dot marks the origin on paper — an initial point from which lines and forms emerge. The act of drawing becomes meditative; through repetition and movement, the lines begin to echo the rhythms of the human condition. Straight lines suggest precision, control, efficiency, and the desire for order or a prescribed path. In contrast, crooked lines evoke imperfection, error, and randomness, while also embodying surrender and a sense of natural beauty. Their rises and falls mirror the human experience: an upward pull toward questions of death, spirituality, and transcendence, and downward movements into suffering, doubt, and fallibility.
Within these shifting, chart-like trajectories lies the space of free will — where one navigates choice, belief, purpose, and growth amid adversity. Even in their irregularity, the lines suggest a quiet coherence when viewed from afar, hinting at a deeper order that holds both the straight and the crooked, reflecting the tensions within human nature itself. They converge into abstract forms, their imperfect edges evoking deterioration and the passing of time, underscoring the fragile nature of existence. In turn, the forms become emotional landscapes — open-ended and contemplative.