Kim Lim

Candy (1975) is one of the sculptures that exemplifies these characteristics, showing the artist's interest in balance, colour, form and her concept of 'less elaboration and more strength'.

[9] For the Second Hayward Annual, in an attempt to redress this balance and make a public statement about gendered selection-bias, an all-female selection committee was formed comprising Kim Lim, Tess Jaray, Liliane Lijn, Rita Donagh and Gillian Wise Ciobaratu.

In Sea-Stone (1989; London, Tate), the marble has been carved with incised lines and textures so that the stone both seems to be worn by the sea.

During her career she travelled to China, Indonesia, Cambodia, Egypt, Malaysia and Turkey with her husband, artist William Turnbull.

[15][16] As Bianca Chu writes in Ocula Magazine, on the occasion of the artist's spotlight exhibition at Tate Britain in 2020, 'her determination to leave Singapore, a home and a life path that was comfortable and without risk, for London, and her eventual absorption into and of her new home, reveals a mutability and elasticity characteristic and constitutive of her artistic practice.