Chloe Ho

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Toward heaven still, October 2009 Mixed Media 100.5cm X 45.0cm © Chloe Ho
There were ten thousand thousand fruit to touch, July 2010 Mixed Media 182.9 Cm X 121.9cm © Chloe Ho
And there's a barrel I didn't fill, July 2010 Oil 91.4cm X 121.9cm © Chloe Ho
And I could tell what form my dreaming was about to take, July 2010 Mixed Media 121.9cm X 182.9cm © Chloe Ho
Load on load of apples coming in, August 2010 Mixed Media 91.4cm X 121.9cm © Chloe Ho
I was well upon my way to sleep before it fell, August 2010 Oil 182.9 Cm X 121.9cm © Chloe Ho
Stem end and blossom end and every fleck of russet showing clear, August 2010 Mixed Media 91.4cm X 121.9cm © Chloe Ho
And I keep hearing from the cellar bin the rumbling sound, August 2010 Mixed Media 91.4cm X 121.9cm © Chloe Ho
I cannot rub this strangeness from my sight, September 2010 Mixed Media 70.0cm X 90.0cm © Chloe Ho
Magnified apples appear and disappear, September 2010 Mixed Media 121.9cm X 182.9cm © Chloe Ho
For all that struck the earth went surely to the cider-apple heap, September 2010 Mixed Media 121.9cm X 182.9cm © Chloe Ho
I am overtired of this great harvest I myself desired, September 2010 Mixed Media 4ft X 8ft © Chloe Ho
The woodchuck could say whether it's like his long sleep or just some human sleep, September 2010 Mixed Media © Chloe Ho
Quick Facts
Birth year
Lives in
CHIJ St. Nicholas Girls' School, 2008, GSCE 'O' Level Certificate
Anglo-Chinese School (Independent), 2010, International Baccalaureate
impressionist, Post-Impressionist, Chinese, painterly realism, painterly mixed-media, modern, traditional, conceptual

Artist statement

Singapore was once a British colony. As a Chinese, I have an inheritance of years of tradition and ritual. This I hold close to me. Singaporean Chinese, most of them once coolies under British rule, believe that the harder you work, the greater the reward. This belief remains prevalent in modern Singapore. I was also taught two other sayings: 做人要腳踏實地 (be realistic) and 望子成龍,望女成風 (all parents expect their children to excel). Many Singaporean Chinese expect their children to either rise to prominence or become a professional to bring honor to the family.

I am concerned with the desires of the children who are pressured to do something they dislike in order to fulfill the desires of their parents. I focused on what had been lost, struggling to see the purpose and goodness of this form of parenting.

The past 2 years have been meaningful, full of experimentation with new techniques like print transfer, pastels with linseed oil and drips. Emboldened by a new creative freedom, I have challenged myself by working in a greater scale then I’ve ever worked before. I learned to incorporate the texture of old, weather-beaten plywood, using washes and drips to juxtapose realism and 3D media. All this while, I have focused on my struggle to marry what is asked of me and what I want to do in life, drawing inspiration from my Chinese heritage and utilizing Hades as my context. By the end of this journey, I have made use of various artistic media like oil, pastels, charcoal and prints and injected elements of abstract expressionism into my style of impressionistic realism. As I find my influences from Cezanne to Jackson Pollock, I have achieved thematic reconciliation.


About the artist

Chloe had spent her whole life in Asia and had recently completed her education in Anglo-Chinese School (Independent), Singapore. Currently, she is awaiting her academic results for the International Baccalaureate and aims to enter university as an Art History major.

Only eighteen years old, Chloe is a promising artist who will make an impact in Singapore's art with her unusual imagery that is heavily influenced by her primarily traditional family background. Like many local Chinese artists, she has found an affinity with Impressionism and will likely continue to explore this form of painting.