Distorted Political Spheres examines the disjuncture between the real and the digital, and is a comment on how our current condition is one that is heavily influenced by the digital milieu. A domain in which this phenomenon of interaction is readily apparent is the political sphere. As such, this series examines the dissonance between real, found, photographic representations and digital 3D model representations of political monuments. It does so by recording on film the process of the former representation morphing into the latter. Intermediary film stills were selected and used as blueprints for the generation of large scale oil paintings. The results are archives of the disjuncture and interplay between the real and the virtual, reified metaphors for the condition of politics today.




This body of work celebrates Canada’s150th year as a nation through visualization of its capital city, Ottawa. It considers the different manifestations of pictorial space across art history and explores depictions of space that reflect the contemporary zeitgest. Central to this exploration is the idea that the contemporary climate is heavily influenced by the digital milieu.





‘Vanitas Obsolescentum’ explores commodity obsolescence through appropriation of the 17th century Dutch Vanitas genre. Commodities commonly subject to obsolescence, such as disposable flatware and cutlery, fashion objects and digital technology, are represented in still life images rendered in holographic form. The holographic medium conveys the ephemerality of the objects represented and refers to notions of hyperreality in Dutch Vanity painting. The result is a series that makes evident the imminence of obsolescence in contemporary commodity in a post-industrial capitalist society.











© Lianne Ho 2018, All rights reserved.
Mark