Living Room Session 4[2023]
Conversations: Shaquille Shaniqua Joy 
Visuals: TengTeng Ho 
Poster: TengTeng Ho
VHS Footage: Shaquille Shaniqua Joy 
Edit: TengTeng Ho 
Guitar: Jonathan Doelwijt 

Special thanks for those sharing their dreams with us:
Audrey 
Hadjja 
Jonathan 
Marjorie 
Nora 
Tailo
This audiovisual exploration delves into the enigmatic realm of dreams, where solitude intertwines with a sense of community—a paradoxical experience that is both elusive to recall and exhilarating to share. Each of us possesses an atlas of imperceptible landscapes, meandering streams, and ethereal layers, whose distance, depth, and inclination remain subjective, contingent upon our individual perceptions of profundity. Is it a mere illusion, or does it manifest itself closer than it appears?

As these layers shift and evolve over time, so do the aspirations we harbor for ourselves. Dreams, taking diverse forms, undergo transformations in the ways we perceive them. Novel perspectives emerge through conversations, simple acts of kindness, or life-altering events, altering the very fabric of our aspirations





The Familiar Foreign
[2023]

Installation : images and soundscape 
Teng Teng Ho and Vasilisa Ikryannikova 2022



Showcased in
- FAM at the Rose is a rose is a rose gallery Amsterdam 2022
- MAHA X NIKE Air Max day 2023 exhibition at the Looiersgracht Amsterdam 


The experience that this installation aims to embody is the feeling that both Teng Teng and Vasilisa witnessed during their travels. 

Teng Teng when visiting South Korea created these series of collages which transcend the multitude of scenes and layers of different recollections. This is embedded in the geometrical shapes, focus, contrasts in light, shades and colours. Teng Teng’s process starts with observation and how everything, even her own memories are unpredictable. The set up of the space, as the light radiates through the prints symbolises these ambiguities, distortions and disappearance.

For Vasilisa this experience arrived when she was visiting Tbilisi in Georgia. It was a feeling of excitement brought by the newness of her being there. But weirdly, familiarity echoed throughout her whole trip. She captured the majority of this through voice notes from field recordings. Sounds of nature, business of the concrete, conversations and radio stations. It is the distortion and assembly of these sounds together and the way these sounds travel that oscillate her part of the work.

This visual and auditory installation dwells on our experience of space through architecture and sound. It is the deconstruction of the many levels in which an individual experiences a city. This is reconstructed through the many layers by the means of which both the sound and the images were created. Both the prints and the sound are elements that have been overlayed in a way that highlights and hinders them in some aspects. This is the interpretation of what arriving in a new place can feel like sometimes. It is often quite a vibrant first impression which is the followed by the act of finding peace in the overwhelming experience. Peace through ambience, peace through composition. Disorder through business, chaos through disorientation.  This work is about embodying the feeling comfort and safety. But still from a distance. The work is inviting, and it is to experience it as a whole, but just like a vacation you can only experience a glimpse of it at a time. Through our lens and through our experience layer over each other. It is something that has touched our soul and occupied our memory. 

It is by no means a representation of the places we visited, but a display of how we as human beings are influenced by our environment where we are / where we grew up and how it skews our perception of the new places and things we encounter. Unravelling of memories based on identity.


Sound Threads
[2023]

Creative direction: Erna Zuhric
Visuals: TengTeng Ho and Mark Torochkin 
Production: Erna Zuhric and Thijmen Michielsen 

Performers: 
Zacquel Phipps 
Guoda Kersyte 
Andrea Morell 

Sound artists: 
Max Firmout 
Nicolai Cuscoleca



Sound Threads is a performance and listening session series that focuses on the art of listening. With the synergy of experimental soundscapes and an array of visuals, an emotive space gets created, in which we can give sincere and conscious attention to both; our bodies and our environment. 



Diabetes Diaries
[2023]

Creative direction: Kairo Edward
Visuals: TengTeng Ho 


Fences and Freedom 
[2022]



APOC X ‘PRESENCE’ BAG [2022]

Exclusive release of the ‘PRESENCE’ BAG 
Creative direction: TengTeng Ho 
Photography: Floris Henricus Koopman 
Edit: Floris Henricus Koopman


DON’T HATE MEDITATE SS22
[2022]

Creative direction: Jonas Bruun
Photography: TengTeng Ho 
Photography assistant: Sophia Martinussen



Bloodclot[2022]
Artist: Jon Aro 
Creatie direction: Noah Shakoor 
Visuals: TengTeng Ho
Photography: Hyesoo Chung 
Styling: Billy Lobos 

BLOODCLOT is the debut performance by Berlin-based producer and singer-songwriter Jon Aro. It adresses the artist's personal battles pertaining to identity crisis, love ache, and the healing of generational curses. The three-part act consisted of a sonic landscape made by industrial sounds, deconstructed R&B, vocal chops, and percussive instruments. 

It is a performance piece about the black queer experience, hedonism, identity crisis, love ache and the healing of generational curses. The performance will feature a sonic landscape using experimental industrial sounds and deconstructed alternative RNB. It will also consist of gut-wrenching vocals and lyrical honesty, which the artist uses as a means of self-therapy and raw storytelling. The songs and sounds featured within the performance will also be included in Aro’s upcoming album of the same name.

Feb 7th Berlin Soho House 

March 15th Miami Soho House

April 30th Reference Fest 

May 13 NEW YORK CITY

June 16 BARCELONA - Sonar Festival

July 12 BERLIN - Kantine

Aug (TBA) BERLIN

DEC 1-4 MIAMI

Dec 17th London





Garment magazine 
[2022]

Featured 3D headpiece and interview 
text & interview JESSICA BILAVSKI
digital designs TENG TENG HO

How can Traditional Chinese Medicine (TCM) be used within digital headwear design as a form of healing? When digital designer and AMFI student Teng Teng Ho felt the need to break down the ego of fashion, she discovered that it is possible to change your own childhood narrative. We both used the opportunity to balance out our screen-time, and met at Rembrandtpark. To talk about her first digital collection, the importance of process(ing) and seeking alliance outside the infamous fashion bubble.

text & interview JESSICA BILAVSKI
digital designs TENG TENG HO



Your digital fashion collection, the web that has no weaver is inspired by Traditional Chinese Medicine (TCM). How come?

“So first, I wanted to create a 3D community platform where people share their embodied experiences through the medium of digital fashion. But then I realised that this is quite far-fetched. I felt like I had to contribute in another way to the Chinese diaspora community before I aim to create a platform. So I came back to my childhood memories: I remembered my parents picking me up from school with all those red spots on their bodies from the cupping sessions (baguan, a qi-flow improving therapy). During that time, I thought that was weird and I ignored that part of our culture. With my collection, named after the Chinese Medicine book by Ted J. Kaptchuk, I wanted to change the narrative of my childhood thoughts and reclaim my Chinese identity by learning about Traditional Chinese Medicine and its five-phase theory (wu-xing). Every garment represents one of the phases (Wood, Fire, Water, Earth and Metal).”

How do you translate Traditional Chinese Medicine into digital headpieces? 

“The headpieces are based on the facial Meridians. They stand in relation to the 3D environment I created as well as to the colour that triggers a certain emotion. For example the colour red, that is connected to fire, brings up joy. There are seven basic emotions: joy, anger, sadness, grief, worry, fear and fright, according to the Nei Jing. Recognising and responding to those emotions is seen as a critical component of a healthy life. One of the headpieces has a metallic fabric around it that reflects the 3D environment. I never know 100% how the pieces turn out, but that's also what I wanted. I wanted to show that the garment is the environment and the environment is the garment.”

How do you translate Traditional Chinese Medicine into digital headpieces? 

“The headpieces are based on the facial Meridians. They stand in relation to the 3D environment I created as well as to the colour that triggers a certain emotion. For example the colour red, that is connected to fire, brings up joy. There are seven basic emotions: joy, anger, sadness, grief, worry, fear and fright, according to the Nei Jing. Recognising and responding to those emotions is seen as a critical component of a healthy life. One of the headpieces has a metallic fabric around it that reflects the 3D environment. I never know 100% how the pieces turn out, but that's also what I wanted. I wanted to show that the garment is the environment and the environment is the garment.”


What inspired you to show the reflection of the environment through your headpieces?

“When I arrived at my acupuncture appointment at Kim’s, she told me to wear a hoodie instead of a thin top when it's windy outside. A lot of wind is bad for my liver condition, especially wind on my neck. This inspired me to show what effect the environment has on the body, represented by the reflection of the environment on the headpieces.”


How was your experience working together with TCM practitioner Kim? 

“We tried to co-design, but during the process Kim told me that she does not have any interest in fashion design as a TCM practitioner. However, I was interested in sharing her knowledge about and practice of TCM.”




Can you imagine yourself offering workshops to hybrid communities in collaboration with TCM practitioners, (fashion) designers/artists and anyone struggling with systemic issues as a form of collective healing?  

“I would definitely see myself contributing and collaborating with other artists. But I would also like to create a 3D space where people who are outside of the fashion bubble, people like Kim, are included, as a way of dissolving the ego of fashion and saying no the fashion hierarchy, in which collaborations only happen amongst creatives/artists.”


You often say that the design should speak for itself. What message are you trying to communicate with your collection?

“Now that you bring up that saying, I only partly agree. My collection is a literal and metaphorical translation of TCM. But I do think it needs some context or else it's just a flat design. Everything needs context or else what's the value of design in general then? You can put a chair in the middle of the museum in a white space and everybody would think it's contemporary and very modern. But it should also have some context. Within my headpieces, the Meridian lines are very obvious when you know what Meridians are. But there are also a lot of people, like an audience that I want to reach that doesn't know anything about it or don't have any interest in it, but will hopefully get intrigued by my designs to read the context, to spread the word about TCM and the value it can bring to design. When it comes to my main message, I would say to reclaim and change the narrative around a stigmatised experience from your childhood, for example. Because you don’t have to stick with these thoughts. You can be proud and show the change of narrative.” By showing the reflection of the 3D environment through the metal headpieces, and making the inside invisible to the viewer, I translate the theory of harmony.


According to Chinese sayings, the only constants in life are change and transformation, or in other words, a notion of flux. How do you translate this theory of harmony into your headpieces?  

“To be in harmony, to be in balance is to be aware of what's happening around you, but also of what's happening inside of you. So being in-tune with your body and environment. By showing the reflection of the 3D environment through the metal headpieces, and making the inside invisible to the viewer, I translate the theory of harmony. This comes from a place of protection: protecting the inner energies and to not soak everything up that your environment throws at you. During this semester, I really needed some time to be unbothered by my environment, and to listen to my body, my needs and wishes. So I realised that by shutting down, I also listen to my environment.” 


Nowadays, we can see more and more throughout the West that “medicine needs art, progress needs wisdom and precision needs vision“, like T. Kaptchuk said. As a digital designer, what do you think digital design needs?

“I think digital design needs accessibility. Interfaces look very complicated, and that holds a lot of people back from getting into 3D design. I struggled, too, from a technical perspective, but I had the privilege to have a teacher who I could ask for help. A lot of people don't have that.”







digital design TENGTENG HO

Religious Rocketship [2022]

Animations: TengTeng Ho 



©TengTengHo.