By Emma Robinson ’27, Visual Studies
Visual Studies graduate Ping Ho ’24 stunned audiences this year with her first exhibition curation since graduating from Ringling College.
Ho is a Taiwanese artist and curator who focuses on migration, mundaneness, and the passage of time by weaving together everyday life to blur boundaries between reality and memory. She works with moving images, sound, archives, and objects to explore the notion of home through fleeting moments of time.
Her curatorial approach follows suit, committed to creating platforms for dialogue about the impermanence of change, technology, and human migration stories. She often collaborated with performance or interdisciplinary artists to challenge the traditional structures of artistic viewing.
The ocean is a common theme throughout Ho’s work. The artist often finds herself attached to whatever body of water is nearest to her, its universal nature a constant source of inspiration, no matter her location. Growing up in Taiwan, moving to the Netherlands, and eventually living in several cities across the United States, the ocean is attached to each chapter of her life–whether that be from flying over it or living next to it.
Ho’s most recent curatorial work, The Distance of Blue, is a digital exhibition made up of 50 works by 49 artists from around the world and explores the ocean as a metaphor for longing, displacement, and transformation.
The exhibition ran from November 1, 2025, to March 31, 2026, as part of the 7th edition of The Wrong Biennale, a decentralized art organization focused on contemporary new media culture that connects artists, curators, and audiences from around the globe.
This exhibition draws inspiration from Rebecca Solnit’s idea of “The Blue of Distance” by “bringing together artists working with digital media, AI, and imagery, the pavilion reflects on how blue, both color and concept, embodies the tension between the visible and the invisible, the near and the far.” Each piece in the collection plays on these themes through a wide array of mediums, from video to photography, to more unique art forms such as audio recordings to interactive simulations.
More than its submissions, the website itself is a work of art that immerses the audience into the work. The website starts off as a white screen and slowly morphs into the ocean as you scroll down, submerging yourself into the depths where the work is displayed. The screen is then divided into 50 spaces, and each artwork can be clicked for a more intimate viewing experience, each piece separate yet whole.
The website was developed in collaboration with artist Yueh‑Han Huang to bring Ho’s idea to life. Huang believes that web design doesn’t need to be stagnant, treating his websites as painters do their canvases: something that can grow and change. And that is exactly what The Distance of Blue’s website does, evolving as the audience goes deeper, using the ocean’s language to draw you into the experience.
While the exhibition was conceived as a fully digital experience, Ho knew she wanted to explore The Distance of Blue further after its successful website launch. After debating where to hold an event that celebrates art from every corner of the world, she partnered with the Millennium Film Workshop Embassy in New York City for a one-night show.
The special presentation featured select works screened in person, as well as a browser-based installation in the Millennium Gallery for those who wanted to experience the exhibition in its original digital form.
The exhibition is a culmination of inspiration from Ho’s previous projects, such as 海聲 Ocean Voice, Kamome, and Florida Dream. To see even more of her work, check out her website.
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