Dimensions: image: 359 x 325 mm
Copyright: © Estate of Kim Lim. All Rights Reserved, DACS 2014 | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: Kim Lim's "III" strikes me immediately with its serenity. The pale hues and spare lines create such a sense of calm. Editor: It’s interesting how the artist has disrupted the lines, the grey does not run continuously across the square. It seems like this was deliberately constructed through layering of materials. Curator: Yes, the composition is quite deliberate. The placement of those segmented lines against the solid rectangle establishes a push and pull, a dialogue between form and void. Editor: I am most curious about the materials used in this piece. The texture is so distinct. Knowing more about Lim's printmaking process could tell us a lot about her artistic labor. Curator: Perhaps. But consider how each line, each segment, contributes to the overall visual rhythm. It is about the careful balance achieved through pure form. Editor: And yet, that form emerges from the real work of the artist. Curator: It is a fascinating distillation of form. Editor: Indeed, a testament to how artmaking transforms materials.
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Kim Lim was born in Singapore but trained as an artist in London, where she subsequently spent her life. She was known primarily as a sculptor in wood and marble, but also made a number of prints and drawings. This group of woodcuts was purchased in 1999. A further ten prints were donated by the Contemporary Art Society in memory of Cecily Lowenthal, who was a long serving member of the Tate Guides and a close friend of the artist. Lim had a life-long fascination with the art and philosophies of the East. Her work reflects this interest in its quest for simplicity and in her attempt to distil the essence of natural forms. Gallery label, August 2004
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