Lambert Ian Ho’s latest solo exhibition at St Stephen’s Gallery in Suva reinforced a practice that has quietly shaped Fiji’s visual arts for nearly four decades — and used it to give back. This year Ho, who prefers to keep his work grounded in community and everyday life, directed proceeds from the show to Father Law Home, a refuge that cares for Fiji’s senior citizens, continuing a long-running pattern of philanthropy tied to his exhibitions.
Ho — of Chinese and iTaukei heritage with family roots in Kadavu and Ovalau — was raised in Lautoka in a household of 11 siblings. His father worked as a carpenter with the Fiji Sugar Corporation and his mother ran the home, a background he says instilled both discipline and emotional depth that inform his work. “I’ve been painting for almost four decades now,” Ho told visitors, underscoring the longevity of a career that has seen him explore fashion, jewellery, sculpture and other visual forms, though painting remains central.
One of the most distinctive features of Ho’s practice is its steady public rhythm: he stages a solo exhibition each year, often presenting as many as 50 pieces. That output is matched by a belief that creativity should reach beyond galleries. Ho runs informal art classes in schools and communities across Fiji — notably in Nakasi — where children gather in public spaces to learn and experiment. Local businesses sometimes donate supplies to support these grassroots sessions. “What’s lacking here in our education system and in our societies is art programmes,” he said. “Dance, music, visual arts, traditional crafts, all of it. These are important spaces for young people.”
Ho’s canvases are both varied and thematically consistent. He rejects a single style, preferring spontaneity, yet his subjects frequently return to social and environmental concerns: conversations, community dynamics, the ocean and the pressing impacts of climate change. Faces and figures — particularly women — recur across his work, painted with a softness and strength he attributes to the influence of his mother and the broader role of Fijian women. “The women of Fiji inspire me,” Ho said. “I always think of my mother when I paint women’s faces. The strength of a mother, the care she gives, that comes through.”
While Ho has mostly steered clear of overt political commentary, he acknowledges a growing interest in using visual storytelling to confront social issues directly. He argues that art can offer a different kind of engagement than news media: it invites reflection rather than merely relaying facts. For him, creativity is not a luxury but a necessity — a tool for expression, resilience and economic empowerment that can help bridge gaps and create opportunities, especially for young people with untapped potential.
This latest exhibition at St Stephen’s Gallery underscores how Ho’s artistic practice has become intertwined with civic purpose. By funneling exhibition proceeds to Father Law Home and maintaining community teaching programmes, he continues to position art as a vehicle for social change in Fiji. After nearly 40 years in the field, Ho remains committed to keeping both his output and his outreach dynamic — “I get bored painting one style,” he says — and to ensuring that the arts remain accessible and meaningful across the islands.