The title of Amanda Ross-Ho’s recent solo show at the 鶹ý Museum of Art, “The Cheshire Cat Principle,” is a clear tip-off that she’s an artist who thinks about invisibility. Things, in her oeuvre, are not always what they seem. Working with images, objects and ideas from everywhere and anywhere—from mass culture to private life, from high-end philosophy to the diurnal routines of her feline companions—Ross-Ho sorts her gleanings in a studio world where improvisation and elaboration rule the day (and night). Frequently, when her work emerges into public view—as paintings, sculptures, photographs and installations—it is so imbued with studio process and atmosphere that it might seem to be art-about-art.
