藝術家伍嘉浩由中學時期便掌握拉坯技巧，其後於香港浸會大學視覺藝術院接受藝術訓練。由大學時期前往日本作交流生，到繼後在京都造形藝術大學研究院修讀綜合造形(陶藝) 碩士。多年來，他在當地接受藝術訓練、駐留、實習等經驗，吸收了不少日本陶藝的歴史觀念與創作技巧，而異鄉的獨處時光成就了他早期的創作方向。伍氏認為陶藝的本質是創造空間。由其畢業作品《十五夜月想》起，已見嘉浩將陶瓷由器物的載體，延伸到裝置範疇以營造空間。一系列代表性作品如《不可視空間》，既利用黑土結合陶瓷拉坯成形，同時在表面打上不同大小密佈的孔洞，透過燈光穿越作品表面的孔洞，反射作品內裡僅餘的止水，瓦解器物本身既定的功能性，引發觀眾更多的想像空間。作為一位年輕的陶瓷藝術家，他不甘於局限同一種表達方式，在不同的創作中，仍不斷求新。

Artist Ng Ka Ho has learnt throwing since Secondary School. In his BA degree, he received a professional art training at Academy of Visual arts in Baptist university, in which he gained an opportunity gone to Japan for ceramics exchange. Afterwards , he finished his master degree of mixed media (Ceramics) in Kyoto. Since then, he has obtained the art training and gathered experience through internships for many years. Eventually, he is more familiar with the historic views and ceramics techniques. Those periods of solitude lay a foundation for him to explore his early direction in art practice.Ka Ho thinks the essence of ceramics is to create space . From his graduation work ‘Fifteenth Night – The Imagination of Moon ‘, he extends the realm of installation to create space not only as containers. A series of signature artworks such as ‘Imperceptible realm’ are produced using black clay and throwing with varied sizes of holes on the surface, lights can pierce through the holes, reflecting the remaining water inside it. The functionality of the things itself is dissected so as to encourage imagination from audience. As a young ceramics artist, Ka Ho doesn’t want to be confined in single way of presentation . He strives to be innovative in many of his practice.