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Artworks
Centaur I, 1963, painted wood, 201 x 16 x 25.5 cm, photo by Mark Dalton, ©
Estate of Kim Lim
Kim Lim
Centaur I, 1963Painted wood79 1/8 x 6 3/8 x 10 1/8 in
201 x 16 x 25.6 cmCopyright The ArtistBorn in Singapore in 1936, Kim Lim spent much of her childhood in the Japanese-occupied Malaysia before moving to London to pursue a career as an artist. She enrolled at...Born in Singapore in 1936, Kim Lim spent much of her childhood in the Japanese-occupied Malaysia before moving to London to pursue a career as an artist. She enrolled at Saint Martin’s School of Art and studied under Anthony Caro, before transferring to the Slade School of Fine Art after two years to focus on her interest in sculpture and printmaking. As a student, she was fascinated by the work of Constantin Brancusi, whose work she saw as “the kind of sculptural experience that until then [she] had only encountered in earlier periods of art.” In a similar vein, on her return trips to Singapore she would frequently stopover in Greece, Southeast Asia and Japan seeking inspiration from the vestiges of earlier civilizations and systems of thought—experiences Lim characterized as her “main art education.”
In her early career, Lim worked primarily in wood, bronze, and steel, often experimenting with modular configurations whose titles drew on mythology, ancient history, and the geographies of her travels. Early works such as Centaur I (1963) show stacked compositions that balance curvilinear and angular elements, demonstrating how she translated these references into a rigorous abstract language, evoking them through rhythm and structure rather than direct representation. This work's pair, Borneo II (1964), is in the collection of Tate, London.
Provenance
The Estate of Kim LimExhibitions
Kim Lim: Water Rests, Stone Speaks, UCCA Dune, Beidaihe, China, October 26, 2025–April 6, 2026.
Kim Lim: Space, Rhythm & Light, The Hepworth Wakefield, Wakefield, UK, November 25, 2023–June 2, 2024.Literature
Abi Shapiro, ed. Kim Lim: Space, Rhythm & Light (London: Lund Humphries and The Hepworth Wakefield, 2023), p. 34.
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