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MICHAEL RIKIO MING HEE HO

マイケルリキオ明希何

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Installation view of All things in the universe are made of pure energy, yet I’m still tired, 2024 solo exhibition by Michael Rikio Ming Hee Ho at Sangheeut. Text-based shaped canvases are hung across white walls, simulating 3D boxes containing surreal natural landscapes and existential phrases.

Installation view of All things in the universe are made of pure energy, yet I’m still tired, 2024 solo exhibition by Michael Rikio Ming Hee Ho at Sangheeut. Text-based shaped canvases are hung across white walls, simulating 3D boxes containing surreal natural landscapes and existential phrases.

Installation view of All things in the universe are made of pure energy, yet I’m still tired, 2024 solo exhibition by Michael Rikio Ming Hee Ho at Sangheeut. Text-based shaped canvases are hung across white walls, simulating 3D boxes containing surreal natural landscapes and existential phrases.

Installation view of All things in the universe are made of pure energy, yet I’m still tired, 2024 solo exhibition by Michael Rikio Ming Hee Ho at Sangheeut. Text-based shaped canvases are hung across white walls, simulating 3D boxes containing surreal natural landscapes and existential phrases.

Installation view of All things in the universe are made of pure energy, yet I’m still tired, 2024 solo exhibition by Michael Rikio Ming Hee Ho at Sangheeut. Text-based shaped canvases are hung across white walls, simulating 3D boxes containing surreal natural landscapes and existential phrases.

Installation view of All things in the universe are made of pure energy, yet I’m still tired, 2024 solo exhibition by Michael Rikio Ming Hee Ho at Sangheeut. Text-based shaped canvases are hung across white walls, simulating 3D boxes containing surreal natural landscapes and existential phrases.

Installation view of All things in the universe are made of pure energy, yet I’m still tired, 2024 solo exhibition by Michael Rikio Ming Hee Ho at Sangheeut. Text-based shaped canvases are hung across white walls, simulating 3D boxes containing surreal natural landscapes and existential phrases.

Installation view of All things in the universe are made of pure energy, yet I’m still tired, 2024 solo exhibition by Michael Rikio Ming Hee Ho at Sangheeut. Text-based shaped canvases are hung across white walls, simulating 3D boxes containing surreal natural landscapes and existential phrases.

Installation view of All things in the universe are made of pure energy, yet I’m still tired, 2024 solo exhibition by Michael Rikio Ming Hee Ho at Sangheeut. Text-based shaped canvases are hung across white walls, simulating 3D boxes containing surreal natural landscapes and existential phrases.

Painting by Michael Rikio Ming Hee Ho titled “hey sorry i didn’t message you back sooner,” created in 2024. A shaped canvas painted with Sonoran desert cactus imagery and a shadow of Mauna Kea, overlaid with the text “i was stuck on my back like a bug.” Part of Ho’s series exploring digital-age language, cultural dislocation, and emotional exhaustion through landscape illusion and poetic irony.

Painting by Michael Rikio Ming Hee Ho titled “hey sorry i didn’t message you back sooner,” created in 2024. A shaped canvas painted with Sonoran desert cactus imagery and a shadow of Mauna Kea, overlaid with the text “i was stuck on my back like a bug.” Part of Ho’s series exploring digital-age language, cultural dislocation, and emotional exhaustion through landscape illusion and poetic irony.

Shaped text painting by Michael Rikio Ming Hee Ho titled “acting like I don’t know nobody,” created in 2024 using acrylic, enamel, and charcoal on cotton canvas. Featuring a collage-like desert landscape and overlaid bold text, the piece uses illusionistic geometry to critique identity performance, social detachment, and the aesthetics of ironic self-presentation in digital culture.

Shaped text painting by Michael Rikio Ming Hee Ho titled “acting like I don’t know nobody,” created in 2024 using acrylic, enamel, and charcoal on cotton canvas. Featuring a collage-like desert landscape and overlaid bold text, the piece uses illusionistic geometry to critique identity performance, social detachment, and the aesthetics of ironic self-presentation in digital culture.

Shaped text painting by Michael Rikio Ming Hee Ho titled “acting like I don’t know nobody,” created in 2024 using acrylic, enamel, and charcoal on cotton canvas. Featuring a collage-like desert landscape and overlaid bold text, the piece uses illusionistic geometry to critique identity performance, social detachment, and the aesthetics of ironic self-presentation in digital culture.

Painting by Michael Rikio Ming Hee Ho titled “It ain’t much but it’s honest work,” created in 2024. The artwork features a shaped trompe-l’œil canvas painted to look like a 3D box. Its surfaces show daisies and a rural mountain landscape overlaid with bold text. This piece is part of Ho’s series exploring generational exhaustion, visual illusion, and cultural anxiety through poetic phrases and landscape imagery.

Painting by Michael Rikio Ming Hee Ho titled “It ain’t much but it’s honest work,” created in 2024. The artwork features a shaped trompe-l’œil canvas painted to look like a 3D box. Its surfaces show daisies and a rural mountain landscape overlaid with bold text. This piece is part of Ho’s series exploring generational exhaustion, visual illusion, and cultural anxiety through poetic phrases and landscape imagery.

Text-based shaped canvas painting by Michael Rikio Ming Hee Ho titled “tragedy is so silly,” created in 2024 with acrylic, enamel, and charcoal on cotton canvas. Featuring palm trees beneath a cloudy sky, the illusionistic prism form holds a phrase that mocks existential dread with generational dark humor. The piece engages visual illusion and poetic absurdity to reflect on emotional detachment in a collapsing world.

Text-based shaped canvas painting by Michael Rikio Ming Hee Ho titled “tragedy is so silly,” created in 2024 with acrylic, enamel, and charcoal on cotton canvas. Featuring palm trees beneath a cloudy sky, the illusionistic prism form holds a phrase that mocks existential dread with generational dark humor. The piece engages visual illusion and poetic absurdity to reflect on emotional detachment in a collapsing world.

Text-based shaped canvas painting by Michael Rikio Ming Hee Ho titled “what are you doing right now i’m lonely,” created in 2024 with acrylic, enamel, and charcoal on cotton canvas. The piece features Monument Valley desert imagery layered with blooming cactus and the haunting text “what are you doing right now I’m lonely / am I just your ‘lonely’.” The illusionistic form conveys emotional isolation and the vulnerability of digital intimacy against a backdrop of natural resilience.

Text-based shaped canvas painting by Michael Rikio Ming Hee Ho titled “what are you doing right now i’m lonely,” created in 2024 with acrylic, enamel, and charcoal on cotton canvas. The piece features Monument Valley desert imagery layered with blooming cactus and the haunting text “what are you doing right now I’m lonely / am I just your ‘lonely’.” The illusionistic form conveys emotional isolation and the vulnerability of digital intimacy against a backdrop of natural resilience.

Text-based shaped canvas painting by Michael Rikio Ming Hee Ho titled “sorry sweetheart,” created in 2024 with acrylic, enamel, and charcoal on cotton canvas. The piece features Haleakalā Crater’s rare silversword plants painted in illusionistic depth, overlaid with the phrase “SORRY SWEETHEART WE’RE HAVING ICE CUBES FOR DINNER.” The work blends visual humor with economic anxiety, capturing the quiet surrealism of generational hardship against an endangered native Hawaiian landscape.

Text-based shaped canvas painting by Michael Rikio Ming Hee Ho titled “sorry sweetheart,” created in 2024 with acrylic, enamel, and charcoal on cotton canvas. The piece features Haleakalā Crater’s rare silversword plants painted in illusionistic depth, overlaid with the phrase “SORRY SWEETHEART WE’RE HAVING ICE CUBES FOR DINNER.” The work blends visual humor with economic anxiety, capturing the quiet surrealism of generational hardship against an endangered native Hawaiian landscape.

Text-based shaped canvas painting by Michael Rikio Ming Hee Ho titled “i’ll meet you here,” created in 2024 with acrylic, enamel, and charcoal on cotton canvas. The work merges a Hawaiian sunset with silhouettes of coconut palms and the red rock formations of Monument Valley. The phrase “I’LL MEET YOU HERE” stretches across the illusory 3D surface, evoking a poetic promise within a hybrid, imagined landscape. The painting reflects on longing, dislocation, and cultural memory across geographies.

Text-based shaped canvas painting by Michael Rikio Ming Hee Ho titled “i’ll meet you here,” created in 2024 with acrylic, enamel, and charcoal on cotton canvas. The work merges a Hawaiian sunset with silhouettes of coconut palms and the red rock formations of Monument Valley. The phrase “I’LL MEET YOU HERE” stretches across the illusory 3D surface, evoking a poetic promise within a hybrid, imagined landscape. The painting reflects on longing, dislocation, and cultural memory across geographies.

Text-based shaped canvas painting by Michael Rikio Ming Hee Ho titled “but you’re still coming into work right?”, made in 2024 using acrylic, enamel, and charcoal on cotton canvas. The illusionistic cube-like form features a tropical Hawaiian beach scene with tall coconut trees and ocean shadows, overlaid with a sarcastic phrase reflecting labor fatigue and emotional detachment. The work evokes the disconnect between idyllic environments and capitalist expectations, capturing contemporary existential tension.

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Michael Rikio Ming Hee Ho is a Hawai‘i-born, Tokyo-based artist working in text-based conceptual painting that reflects on language, identity, and generational absurdity.

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