Selected Portfolio: Please scroll down to view each piece.
The Tiger’s Eye, Solo Show with Huxley-Parlour Gallery, November 2022
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Ornamental Mythologies, Solo Show at Edinburgh Printmakers, September 2022
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The Wailing Whale Snuff Box, 2022
Created for Eat, Drink, Man, Woman, Soho House, July 2022
Graduate Show at The University of Oxford, July 2022
The Red Room Exhibition, Berntson Bhattacharjee Gallery, May 2022
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In The Margins, Solo Show with Commonage projects, April 2022
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Installation for RSA New Contemporaries, Royal Scottish Academy, Edinburgh, February 2022
Tate Women’s History Month Commission, March 2022
Qilin and Seraph Snuff Bottle - Inspired by Eluhim by Leonora Carrington
Inanimate Creatures - Solo Exhibition with Changing Room Gallery - February 2022
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Enchanted Rose Snuff Bottle and Table, 2021
MDF, Jesmonite, Polymer Clay, Acrylic Paint
Created for Under Your Spell at Collective Ending
Enchanted Rose Snuff Bottle, 2021
Jesmonite and Polymer Clay
Created for Under Your Spell at Collective Ending.
Six Legged, Lion Footed, Snuff Bottle, 2021
Zao Tang, Local Collective x Stigma, Supported by Arts Council England and Malin & Goetz.
Zao Tang - Stigma x Local Collective Sponsored by Arts Council England and Malin and Goetz, 2021
4 Ceramic Snuff Bottle works featured.
Big Spikey Hanging Stand With Turquoise Feet, 2021
MDF, acrylic paint, plastic chain, polymer clay
60 x 120 x 45 cm
This piece was created for COB X HOME residency - Cob Gallery and HOME by Ronan McKenzie.
Snuff Bottle Series : Tiny, 2021
Orchid Snuff Bottle With Curly Feet , Yellow Snuff Bottle With Fiery Arms, Tiny Celadon Snuff Bottle
Jesmonite, polymer clay, gloss
Six Legged, Lion Footed, Snuff Bottle
Jesmonite, polymer clay, gloss
15 x 18 x 10 cm
This piece was created for COB X HOME residency - Cob Gallery and HOME by Ronan McKenzie.
Xiānhè Snuff Bottle, 2021
Medium: Polymer clay
Scale: 8.5 x 14 x 3.5 cm
Shard of Fire, 2021
0.7 x 1.2 x 0.65 m
MDF, Steel chain, Acrylic Paint
The Forbidden Gates, 2020.
2 x 1.7 x 0.7 m
MDF, brass chains, steel frame
The Forbidden Gates were created for curator Georgia Stephenson’s PATIO Project supported by the Freelands Foundation. The aim of the project was to bring to life degree show sculpture proposals that weren’t been able to be realised due to Covid lockdown.
Working with 2020 graduating artists, she programmed a series of sculptural works from graduate students from across the UK, to be displayed at her home in South East London. Through this project I created a set of vibrant gates: The Forbidden Gates, that were shown on Georgia’s patio for two weeks. The gates have recently been shown as part of the Bowes Parris x Harlesden Highstreet show, After Hours, and will also be shown as part of RSA New Contemporaries.
Medici Lion Snuff Bottle, 2020.
10 x 15 x 6 cm
Polymer clay, ink, gold rings and bell
This piece is part of a series of snuff bottles that I had begun creating during the Covid19 lockdown. It is produced in response to a research trip to Florence as part of the RSA John Kinross Scholarship in October 2020.
Suspended Font, Porta Sancta, 2021
Created for duo show Hannah Lim x Hugo Harris with Harlesden High Street and Underground Flower.
Mausoleum from The Cemetery of the Holy Doors (Cimitero delle Porte Sante), 2020.
Digital sculpture
This is a collaborative piece with artist Hugo Harris created for the Wretched Light Industry Project, supported by Creative Scotland and Serving the People.
Flatpack Portable Altarpiece, 2020
0.6 x 0.65 x 0.4 m
MDF, polymer clay, brass hinges, gold bells, ink
This piece is inspired by my time spent in Florence during my RSA John Kinross Scholarship in October. Influenced by street shrines, reliquaries and the Porta della Mandorla at the Duomo. It is set to be in an upcoming collaborative show between myself and artist Hugo Harris, with Harlesden High Street and Underground Flower.
In Praise of Shadows, 2020.
1.2 x 0.7 x 0.6 m
Clear acrylic
This image is from a series of sculptures and photographs produced in response to the essay, In Praise of Shadows, on Japanese aesthetics by Jun'ichirō Tanizaki. What is most notable in a Tanizaki’s writing is the use of light and darkness to contrast Western and East Asian cultures. The West is described as somewhat searching for light and clarity whilst the East appears to appreciate the shadows and subtly they provide, evidenced in it’s aesthetics and art.
Each image and sculpture in this series utilises light and shadow through different uses of material, colour and shape.
In Praise of Shadows, 2020.
MDF, satin
1 x 1.3 x 1 m
Hung and Strung, 2019.
1.5 x 2.2 x 0.8 m
MDF, elastic, acrylic, metal frame.
Shown as part of a video piece for The Museum of Half Truths in Hong Kong.
Hung and Strung is a series of flat-pack furniture sculptures that combine elements of functional and ornamental design. They’re inspired in particular by the 18th century trend of the Chinoiserie; where European designers and artists imitated and interpreted Chinese and other East Asian artistic traditions.
Lift Off: Hung and Strung, 2019.
3 x 4 x 3 m
Cardboard, collapsible frame, acrylic, foam clay, MDF
Experiments at Edinburgh College of Art.
Shown as part of a video piece for The Museum of Half Truths in Hong Kong.
The Orchid Arches, 2020.
A collaboration with artist Hugo Harris for our Make, Send Project.
Digital sculpture
Before lockdown in the UK myself and Hugo Harris wanted to combine our artistic practices in a series of collaborative pieces, combining Hugo's sculptural work, which is primarily concerned with the human body and my own, which I use to explore concepts of cultural identity through sculptural design. Our intention was to have a conversation through sculpture, handing an item back and forth to one another, adding and manipulating the object with each 'reply' to create a series of sculptural forms. Not living together meant exchanging these works during lockdown was impossible. We decided instead to digitalise our work and have the conversation via blender, sending the files to one another.
The Lotus Snuff Bottle, 2020.
10 x 14 x 6 cm
Polymer clay, ink
The Snuff Bottle series evolved out of my inability to work on some of the bigger sculptures I had been planning to make for my degree show pre-lockdown. My Snuff Bottles are far larger than the traditional ones, often without a stopper and sometimes quite anthropomorphic. These bottles capture elements of my identity, particularly those associated with my Chinese heritage, sometimes stamped with my name sake chop, decorated with clay copies of my grandmother’s jade pendants and topped with Singapore’s national flower: an orchid. Snuff bottles are intended to be personal, fitting inside of the owners palm. Their visual intricacy and texture are equally important; snuff bottles are meant to be held and such they should have a ‘pleasant tactile quality’.
All arms and Legs
0.7 x 0.8 x 0.7 m
MDF, acrylic, silicone.
Flatpack table by Hannah Lim and arm by Hugo Harris.
King, Queen and Spider, 2020.
2.4 x 1 x 1.4 m
MDF
Experiments at Edinburgh College of Art.
Folding Screen, 2019.
1.2 x 1.2 x 0.5 m
MDF, foam clay, metal hinges
Shown as part of the Hospitalfield residency at Hospitalfield House.
Family Portrait, 2019.
1.6 x 1.7 x 1.5 m
MDF, acrylic, cardboard, kanekalon hair, foam clay, fabric, cord.
Experiments at Edinburgh College of Art.
Bootlegged Table and The Spikey Chandelier, 2018.
1 x 1 x 0.5 m
MDF, acrylic, kanekalon hair, foam clay, cardboard.
Shown as part of the Astaire Prize 2019.