Lim Jing

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. 

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 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 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)

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.

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.

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.