Spotlight On YAFies: Gaga Ho

Gaga Ho
Standard Chartered Arts in the Park 2024 Giant Puppet Artist

As a professional prop designer, how did you get into giant puppet making?
I studied prop design and worked in prop making and scenic art after graduation. I first learned about giant puppet making by chance. It’s an art form that combines design, drama, storytelling and puppetry, which I found really intriguing.
 
What fascinates me most about giant puppets is their expressiveness on stage. They capture the audience's attention and communicate emotions in a unique and compelling way. Collaborating with other puppet artists has also been incredibly rewarding – sparking inspiration and helping me learn different techniques and perspectives.

Making giant puppets allows me to experiment and express my creativity. I look forward to making more pieces and continuing to explore this field.

How did you learn to make giant puppets?  
I gained a foundation in craftsmanship and materials while studying at the Hong Kong Academy for Performing Arts. I learned a lot, not only from my teachers but also through projects and assignments. In my third year, I interned at local theatre company Fantasy Puppet for a month. That’s where I explored different types of puppets, gained hands-on practice in the crafting process, and developed the necessary understanding and skills.

After graduation, I was fortunate to rejoin the theatre's project to make giant puppets. This experience further honed my skills in this area. I am very grateful for the guidance and opportunities offered by the theatre, which have played a crucial role in my professional growth and development.

How long does it take you to create a giant puppet from scratch?
Crafting a giant puppet takes around a month and a half to two months. To begin with, I spend about a week conceptualising and sketching. Then I focus on preparing and testing materials, which is crucial for ensuring that everything aligns with the puppets’ design and function.

Once the materials are ready, the actual production process usually takes several weeks, depending on the complexity of the puppet design. Throughout the process, I constantly adjust and refine the design to make sure that the final artwork portrays the intended character effectively.

Which part of the production process is the most challenging?  
Designing the mechanics. It requires careful calculations and craftsmanship to ensure that the design allows the puppet to move smoothly and also withstands the weight and movement loads. For the best performance effects, the mechanics need to fit really well with the overall puppet design. This process involves constant testing and adjustments to ensure each detail functions correctly – it’s a challenge and a learning opportunity.

Which details would you like the audience to pay attention to on the puppet you’ve made this year? 
This year, I’ve created a giant puppet of Mrs Aouda from Around the World in Eighty Days. There are several details that I hope the audience will notice.

Firstly, her facial features. Mrs Aouda is a wise, elegant character. I’ve emphasised her facial expression to make these characteristics stand out and engage the audience. The proportions of her face and her expressions – her eyes and the subtle upward curve of her mouth – are all designed to show her personality and emotions. 

Secondly, her clothing. The costume design for Mrs Aouda features different materials and colours that give a rich visual effect. I paid special attention to the layering, using a range of fabrics, textures and accessories to showcase her social status and reflect her taste and personality.

I hope these details help the audience understand Mrs Aouda’s character and her significance in the novel. 

What do you do when you lack inspiration?  
If I need inspiration, I do different things to spark new ideas. First, I look for external information to help me think outside the box. I enjoy watching movies, especially those related to the themes, characters, or emotions I’m working on. I often get inspired by observing different narrative techniques, visual effects and character portrayals. 

I also look into books, articles, research reports or online content. This helps me get a deeper understanding of my subjects and see different perspectives. And I explore the work of other artists, whether it’s puppetry, sculpture, painting or dance, it gives me new ideas and helps me think about how to integrate them into my own creations.

Interacting with other artists is also a way to get inspiration. Discussions and sharing can provide insights that ignite new creative ideas.

What advice do you have for youngsters who are passionate about the visual arts? 
Don’t limit yourself to a single medium or style. Explore different forms like drawing, sculpture, photography or digital art to help you find the best way to express yourself. Also, pay attention to the details of your surroundings in your everyday life – inspiration often comes from day-to-day experiences. Document your thoughts and ideas, in notes, sketches, or photographs, these records can help you capture fleeting moments of creativity.

It’s also important to keep learning and gaining new skills. Attending workshops, courses or exhibitions can improve your skills and open your eyes to new ideas. After each creation, take a moment to reflect on your work – think about what went well and what could be improved. Additionally, exchange ideas with your peers and other artists. This can result in fresh inspiration and constructive feedback, and help you enhance your craft.

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