Lim Jing

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RHB Art with Heart 2022, at Bangsar Shopping Centre.

System Form. 2019. Folding and stitching on silkscreen mesh. 24 cm x 93 cm

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Connections. 2021. Photos courtesy of Studio DL

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Connections. 2021. Acrylic boards. Approximately 6.9ft x 9.7ft. Collaboration work with Emily Chow

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Under Control ( Uncompleted ) Work in Progress. 2018. PVC fabric & sheet, marbles, viewer, gallery space. Dimension variable.

Extending from Under Control, this work was originally planned to be an interactive installation. The work is considered unfinished because it did not carries out its purpose; as according to the artist, it is aimed to create a relationship of controlling and being controlled with the viewer. The artist extends its status to be ‘uncompleted work’ by not setting up accordingly. However, it could not be done because as soon as the work is put in a gallery, it will be viewed as a work of sculpture installation. To avoid being viewed as a completed work, the artist will rework it randomly during the exhibition period.

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‘Form System’ is a series of work that contemplates at the idea of distracted truth and reality by composing images of diagrams with fold and stitch on semi-transparent surface.

Fold is an abstraction of line that lies between visual and physicality - as if its presence and existence are also questioned: is it a concrete line? Or an imagined borderline? By pairing the abstraction with different contexts, the artist created a body of work that bounded up with duality and non-duality, that everything is separated but yet undivided in the same time. However in totality, these properties distort the originally flat surface of the work. The Spectacle, or any form of influence, model, power, or system, will always be there to mediate the Spectator’s fundamental understanding of reality and their own life.

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System Form. 2019. Folding and stitching on silkscreen mesh. 124cm x 93cm.

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Under Control. 2018. PVC fabric & sheet, & marbles, viewer. 10ft x 10ft.

This is an interactive installation. As viewers are interacting with the work, the relationship of controlling and being controlled is created between the viewer and the artwork. It seem like the viewers are taking control of the marbles’ movement, in fact the marbles will only move in a designated path. In the meantime, the work is said ‘completed’ only while being played by viewer. 

In this work, I explore about power that exists within spaces. Every space have its own system, and power is the subject to make the system works. For my concept, I used high transparency materials so that the final outcome could be less visible and bend into surrounding space. Also, I demand certain extent of softness in this work to have some ideas of plasticity and fluidity. The pattern on the installation are actually an unicursal path labyrinth that has only a single, non-branching path, which leads to the center then back out the same way, with only one entry or exit point.

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Boundary (No.21-30). 2017. Pencil and ink on cartridge paper. 15.0cm x 10.5cm.

Boundary is a collaboration project that I invited 30 people to draw the periphery of their residing area spontaneously from their own memory. Each of these planes is a boundary of the space that we define it as a ‘place’. Our actions is limited by the way in which that space is produced. In other words, the physicality of the space would encourage us to behave in certain way, giving us illusion of being control.

Boundary (No.1-10)

Boundary (No.11-20)

Boundary (No.21-30)

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Boundary (No.11-20). 2017. Pencil and ink on cartridge paper. 15.0cm x 10.5cm.

Boundary is a collaboration project that I invited 30 people to draw the periphery of their residing area spontaneously from their own memory. Each of these planes is a boundary of the space that we define it as a ‘place’. Our actions is limited by the way in which that space is produced. In other words, the physicality of the space would encourage us to behave in certain way, giving us illusion of being control.

Boundary (No.1-10)

Boundary (No.11-20)

Boundary (No.21-30)

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Boundary (No.1-10). 2017. Pencil and ink on cartridge paper. 15.0cm x 10.5cm.

Boundary is a collaboration project that I invited 30 people to draw the periphery of their residing area spontaneously from their own memory. Each of these planes is a boundary of the space that we define it as a ‘place’. Our actions is limited by the way in which that space is produced. In other words, the physicality of the space would encourage us to behave in certain way, giving us illusion of being control.

Boundary (No.1-10)

Boundary (No.11-20)

Boundary (No.21-30)

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Identities Are Built From Data. 2017. Paper files collage on MDF board. 152.4cm x 77.0cm.

The person who we are now is based on the information and data that we collected throughout our existence. Therefore our personas and identities are not always ours own.

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Tracing. 2017. Pencil and ink on cartridge paper. Dimension variable.

This is an experiment to test out that whether a replica can hold the same significance of the original. Starting from first and original image, the next and later drawings are all done by tracing from the its previous piece. The result turns out that the traced image constantly changing its shape and eventually transform into something else.

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Gaze. 2018. Live video. 01:00:00.

This performance is a dialogue between virtual identity and reality. In this 1-hour-long performance, I sit on the stool and look at a pre-recorded video of the same setting but without me sitting on the stool. While the pre-recorded video is playing, a live camera is set towards me. I am looking at the empty stool while audience is looking at me through online; I would not know who is watching the live video and the audience would not know what am I staring at.

In this series of work, I explore about how cyberspace acts as a ‘Heterotopia’ site that allowed users to gain different identities just by signing up online IDs. By contextualising figures into Chuuni-poses which is derived from in ACG pop culture, I am trying to indicate that identity is a role-playing game. While people being online, it is possible to manipulate and control own’s identity by the data shared to others user and the activity pattern showed. These criteria suggested plasticity and fluidity of identities which influenced and inspired me greatly in my later works.

Shifting Identit(ies). 2018. Charcoal on canvas. 2.4ft x 4ft.

Being Online. 2018. Acrylic on canvas, UV Light. 2.4ft x 8ft.

Gaze. 2018. Live video. 01:00:00.

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Shifting Identit(ies). 2018. Charcoal on canvas. 2.4ft x 4ft.

In this series of work, I explore about how cyberspace acts as a ‘Heterotopia’ site that allowed users to gain different identities just by signing up online IDs. By contextualising figures into Chuuni-poses which is derived from in ACG pop culture, I am trying to indicate that identity is a role-playing game. While people being online, it is possible to manipulate and control own’s identity by the data shared to others user and the activity pattern showed. These criteria suggested plasticity and fluidity of identities which influenced and inspired me greatly in my later works.

Shifting Identit(ies). 2018. Charcoal on canvas. 2.4ft x 4ft.

Being Online. 2018. Acrylic on canvas, UV Light. 2.4ft x 8ft.

Gaze. 2018. Live video. 01:00:00.

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Being Online. 2018. Acrylic on canvas, UV Light. 2.4ft x 8ft.

In this series of work, I explore about how cyberspace acts as a ‘Heterotopia’ site that allowed users to gain different identities just by signing up online IDs. By contextualising figures into Chuuni-poses which is derived from in ACG pop culture, I am trying to indicate that identity is a role-playing game. While people being online, it is possible to manipulate and control own’s identity by the data shared to others user and the activity pattern showed. These criteria suggested plasticity and fluidity of identities which influenced and inspired me greatly in my later works.

Shifting Identit(ies). 2018. Charcoal on canvas. 2.4ft x 4ft.

Being Online. 2018. Acrylic on canvas, UV Light. 2.4ft x 8ft.

Gaze. 2018. Live video. 01:00:00.