Selected works by Amanda Ross-Ho

Amanda Ross-Ho


Light jet print mounted on sintra, 2 metal sawhorses

144.8 x 111.8 x 96.5 cm

Amanda Ross-Ho’s work is inspired by detritus: the clutter and remnants of daily existence, and the ‘negative space’ of things over looked. Ranging from sculpture, installation, painting, and photography, her work seeks to uncover the subtle beauty of coincidence and anomaly. Working from source material as diverse as newspaper articles, narcotics agency records, life aspiration manuals, and home-craft instruction booklets, Ross-Ho highlights
points of cultural ‘intersection’ to create extrinsic portraits of contemporary zeitgeist.
Throughout Ross-Ho’s work is a sense of de-familiarisation and detachment, a numbing alienation contrived from everyday ephemera. In pieces such as Seizure, a large inkjet print of drug paraphernalia snapshots is mounted on a make-shift evidence table. A representation of a representation, the illicit glamour, allure, and enticement of busted crime is laid out for scrutiny, rendered vacant and sanitised through its photographic distancing.

Amanda Ross-Ho
White Goddess #1 Wall


Acrylic on cut canvas, incised sheetrock, wood, screws, gaffers tape, wrapping paper

White Goddess # 1 dimensions: 228.6 x 91.4 cm Wall dimensions: 243.8 x 193.4 cm
Amanda Ross-Ho
White Goddess #3 Wall


Acrylic on cut canvas, incised sheetrock, wood, screws, fish charm

White Goddess #3 dimensions: 228.6 x 91.4 cm Wall dimensions: 243.8 x 193 cm
Amanda Ross-Ho
Gran-Abertura #2


Incised sheetrock, wood, screws

243.8 x 193 cm
Amanda Ross-Ho
Peacock Wall


Archival light jet print mounted and framed on Sintra, incised sheetrock, wood, screws, cat water bowl

Peacock photo dimensions: 132.1 x 101.6 cm Wall dimensions: 243.8 x 193 cm

Peacock is a photograph made without the use of a camera. Beginning with a classic studio portrait Ross-Ho stencilled out the subject to reveal the pattern of the underlying cutting board before scanning it into a computer. The resulting laser print presents a portrait as void: the figure reduced to a generic grid, its lines intersecting with the architecture in the background, blurring the perception of reality, illusion and construction.


Amanda Ross-Ho
Sieve (and 4 details)


Canvas, gold hoop earrings, thread, crocheted doily, single earring, monogram pins, vintage iron-on, wooden thumbtack, goldplated pendant, rhinestone earring, ceramic pinch pots, aluminium thumbtacks, latex, acrylic and xerox transfer on cut canvas d

366 x 274.3 x 15.2 cm

Made from collected items of found ephemera – hobby reference manuals, old photographs, and bits of jewellery – Ross-Ho’s assemblages draw from the histories and associative meanings of discarded objects to describe points of cultural intersection. Sieve is a large sheet of canvas dropcloth cut in the rough approximation of a doily or paper snowflake, its irregular diamond shapes relating to home craft, tribal patterns and op art. Sparsely adorned with paint, iron-ons, and bijoux, the surface literally becomes a filter, distilling and ‘purifying’ the flotsam of personal and collective memory as a monumental field of preciousness re-valued.

Amanda Ross-Ho
Black Widow #7


Acrylic on cut canvas

213.4 cm in diameter

Ross-Ho’s paintings similarly broach the uncanny. Translated from images of doilies or macramé wall hangings, her intricate webs are manufactured in grandiose scale, cut from painted black canvas dropcloths, or carved in sheet rock. Their recognition and domestic symbolism becomes estranged, placed out of context through size and materiality. Construing kitsch with the elegance of minimalism, Ross-Ho presents the sentimentality of tchotchke as emotive voids, displacing homey intimacy to the realm of objective contemplation.


December 2006, Los Angeles - Cherry and Martin presents its first solo exhibition of Los-Angeles based artist Amanda Ross-Ho's sculpture, photograpy and installation.

WE CAN'T GET ENOUGH, BECAUSE THERE'S TOO MUCH,- states Amanda Ross-Ho. Using images pulled from a wide range of cultural material drug-seizure websites and self-help books, newspaper clippings and holiday craft manuals Amanda Ross-Ho locates sites within culture's representational flow, carving out designated points of focus. Recognizing that contemporary culture moves not as a linear narrative, but rather as a string of analogies, Ross-Ho proposes intersections between seemingly unrelated images and objects.

Ross-Ho presents her images and objects not only on the floor and walls, but also on armatures of her own making.

These armatures, built from sheet rock, wood and latex paint, enlist the architecture of the gallery space itself as yet another point of 'intersection.' Ross-Ho's sculptural, photographic and installation-based works create new spaces within the limitations of the gallery. They attend to economies of presentation within culture at large and demand careful consideration
from the viewer of sites within which work is presented.


By Emma Gray in Art Review

Amanda Ross-Ho makes choices in the space of seven breaths an ancient Samurai practice. Just as well, as rapid-fire decision-making defines the work and life of this 31-year-old Chicagoan, who is exploding into the art world. When I speak to her, she is putting the finishing touches to her masters thesis at the University of Southern California and preparing for her debut at LA's hottest new gallery, Venice's Cherry and Martin.

A trip to Mexico for the MACO fair follows.

I work best at fever pitch, says Ross-Ho. The eleventh hour ends up being when most clarity presents itself.

Ross-Ho describes her work as interdisciplinary: she uses found objects, photographs, drawing, painting and video with a strong performance element. Remnants and leftovers are crucial to her work, much of which consists of the detritus of domestic life the stuff crammed into that kitchen drawer where nothing belongs or is of much use but is fervently held on to, or the junk in the bottom of a handbag.

For most of us this crack is the bane of our existence, but for Ross-Ho it is her reward, what she calls her unresolved dividend, from which profound ideas evolve.

Once you have cleaned and organized everything, it's the stuff that doesn't really have a place that's the unresolved dividend, she says. It's an interesting principle, for giving those things a place, not only a place but a partnership.

Ross-Ho is big on partnerships: disparate homeless objects are strung together to create a new organism. In 100 Arranged Marriages, an older work, items are bundled together with elastic bands a police badge and a cardboard loo roll, dollar-store earrings and a plastic yellow dinosaur.

Black Widow pointedly stands alone. A doily-another domestic object found on the periphery is painted black and rendered large on canvas.

Hung on the wall, it looms like and enormous spider's web or shamanic wheel.

Some material comes from the vestiges of an evening in the studio: beer cans, bottles, corks, string, wrappers or deflated balloons, an empty stage bearing the footprints where musicians played. Sometimes it's the marks left on a wall where the painting was hung and then removed.