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Kenji Lim
Islands of Spray 7 - Contemporary Abstract Blue and Pink Landscape Painting

2022

About the Item

Kenji Lim Islands of Spray 7 - Contemporary Abstract Blue and Pink Landscape Painting Acrylic on linen, framed 54 cm x 54 cm Unique copy Kenji Lim is a British artist based in Essex, born 1980 in Singapore. He works through sculpture, video, digital collage, installation, and painting, to produce objects, animations, and images that operate both individually, and collectively as installation and assembly. Lim’s work reflects and refracts the experience of landscape and the natural world through the prisms of culture, myth, philosophy, and the metaphysical; returning the gaze of Western cultural norms through the eyes of other-than-human actors. Partly ecological and archeological, in turns melancholic and tongue in cheek, he navigates alternative modes of seeing, understanding, and interacting with the world and its inhabitants. Lim studied Sculpture at the Royal College of Art, London (MA - 2017-2019); and the Ruskin School of Art, Oxford University (BFA - 1999-2002). He is currently an Acme Work/Live Artist at High House in Purfleet, Essex. Recent exhibitions include Situated Deities at The Stone Space, London; Neverafter at Galerie Reinthaler, Vienna; and The Flood Machine at The Window Project, Cambridge. Kenji Lim is mostly interested in culture, myth, and ecosystems. Land holds stories like a sponge holds water. Or vinegar for that matter. Stories, narratives, and myths permeate the landscape and bubble up in certain places where the membrane between truth and fiction is the thinnest. These are places with a sense of place, where identities are bared and where we are tied to the soil. But is place a construction of the mind longing for belonging? Do we convince ourselves of the importance of a location and the stories tied to it out of a desire to mythologise ourselves and our attachment to the stories of those long gone? Lim explores the contradictory nature of mythology and place through the constructions of the bucolic, wilderness, and the eerie magical worlds in which we re-narrate our histories, creating connections to the fantastical, cosmological, and microbial. By processes of walking through the landscape and by mining personal and cultural memory, he probes the spectral nature of these stories which return again and again, cutting across and through the timelines of those who hear and repeat them. If there is such a thing as connection to a landscape, how do we hold it and what does it mean to us?
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