In a world of scandi minimalisn and white marble, Shan Shan Lim’s colourful abstract shapes bring joyful palettes and bright dimensions.
Intrigued by her art, Hibiscus caught up with Shan Shan to get an insight into her background and influences in her works.
“I was born in Kuala Lumpur, Malaysia with parents hailing from Malacca.
I was taught Mandarin and Chinese calligraphy since a young age although my parents don’t speak Mandarin. In so many ways, I feel that learning the Chinese characters have shaped my way of thinking and way of designing – turning simple strokes into a word that contains meaning. Similarly, through my work, I see that art of taking minimal abstract shapes and forms and building it up to create an image or artwork that carries a meaning or purpose.
When I was 13, I moved to the foothills of the Himalayas on my own, by choice to continue my higher education and find my own spirituality. That environment really taught me the art of really slowing down, doing one thing at a time and I did a lot of art in that time as well. I didn’t have a phone and I remember spending 13 hours straight without eating on just a still life painting. I spent five years in India before moving to London to study Textile Design at Central Saint Martins.
Upon returning home from a fast-paced city like London, I decided that I would start creating art and moving in this world at my own pace. I took my time to discover and figure out my working style and speed. With that in mind, my first series “Bunga-Bunga” was born using bright colours as a contrast to the dull weather in London and now I have my second series ‘Prints of May’.
I would say my influences are a crossover between Chinese and Indian culture. I love the minimal Chinese brush strokes, but also the vibrant, saturated colours and motifs found in India.”