Ho received a scholarship to the Colorado Institute of Art and credits his later development in oils to mentor Rene Bruhin who instructed him at the Institute. "Rene was my saving grace. He was a crusty, hard-driving professor who'd come up and say, 'What the hell are you doing?' He could solve a problem with just a few strokes and taught me not only how to paint, but how a painting works: things like color notes and melody. Rhythm and the underlying structure of a painting were important to Bruhin, and he stressed that the real master of art expresses feeling rather than technique, which is achieved through intuition rather than education."

Contrasting light and shadow along with the areas of rest and activity, Ho draws attention to objects. An apple or teapot appears hard-edged and detailed when compared to the surrounding areas executed in colorful, broad strokes. "At a glance the eye does not see everything. The area I choose to detail is the central statement of my paintings," explains Ho, who creates visual rhythms that coerce the eye from object to object throughout the canvas.

Through his highly spiritual nature, Ho has come to understand his own artistic rhythm. "I've had moments where I experienced an understanding that goes beyond words while painting. I believe it has everything to do with seeing shapes versus actual images. That happens when I separate myself from the process of painting and learn to play with the accidents. Painting must be a surprise because the true artist communicates by transcending his medium."