Hazel Lim

Elemental Interludes: Indigo & Burnt Umber By Hazel Lim (Feat. @jj.keat ) Now showing at @afsingapour gallery Temporary Obsessions exhibition organised by @mcnallyfinearts . Elemental Interludes - Indigo was performed on opening night 17 Jan by @jj.keat Elemental Interludes reconsiders colour beyond fixed meanings and visual recognition, approaching it instead as something shaped by material, language, time, and sound. Each handcrafted origami book corresponds to a colour derivation and contains the chemical elements that form its pigment. Haiku-inspired poems, written to mirror the books’ folded structure, fragment language into rhythmic units, encouraging colour to be sensed through cadence rather than sight. J J Keat’s collaborative sound work responds to Burnt Umber and Indigo, treating colour as an emergent condition. Drawing from synesthetic experiments and atomic spectral data, gong-like sonorities are activated according to the atomic numbers of selected elements. The poems are rendered in Morse code and layered over time, allowing colour to unfold gradually through listening.

SLIT, 2026 445 cm x 45 cm Silver coated paper Now showing @supperhousesg , 37 Tanjong Pagar Distripark #04-02 SLIT is a large scale paper work created in response to the newly opened Supperhouse space. Using modular folding and interlocking techniques, the work is vertically draped to form a continuous, elongated presence that responds directly to the height and scale of its surroundings. Rendered in silver, the surface reflects and absorbs light, echoing the industrial character of the space while remaining sensitive to subtle shifts in illumination and viewpoint. The work takes its title from its linear configuration, reading as a vertical mark or crevasse that cuts through space. Variations in reflection suggest an inner, mercurial quality - an impression of fluidity held within a fixed form. While made using the same processes as my other paper works, SLIT extends these methods into a monumental register, transforming repetition and folding into a spatial gesture that is both architectural and experiential.

Temporary Obsessions brings together selected works by BAFA and MAFA students, alumni, and staff from the @mcnallyfinearts . Temporary Obsessions looks at brief departures from mastery and the polished outcomes - small experiments, speculative detours, side projects, and gestures that sit close to uncertainty, yet remain central to artistic practice. The exhibition is curated by @jeremysharma1 and myself, with contributions by @urichlau to the video programming. The exhibition also marks a special occasion, as it celebrates @mcnallyfinearts 10th year of working with @afsingapour Alliance Française de Singapour in presenting LASALLE’s work in the gallery. See you at the opening on 17 Jan from 5 pm onwards. I will be presenting two sets of Elemental Interludes - Burnt Sienna and Indigo - with refreshed interpretations by @jj.keat . Come join us for the activation on Saturday !

Artist talk at @carlhansenandson.singapore Flagship store at Ann Siang Road Singapore on 21 Jan, 5 pm. Hope to see you ✨ Thank you @supperhousesg DM to RSVP

IN PLANE SIGHT paper works by hazel lim ⚫️ Presented within the Carl Hansen & Son Flagship Store, IN PLANE SIGHT brings together a selection of Hazel Lim’s paper works, re-situated among furniture and objects shaped by attentiveness to material and careful construction. The works are formed through modular paper folding, where structure, repetition, and restraint guide both process and outcome. ⚫️ Colour and form unfold gradually, responding to light, shadow, and the viewer’s position in space. Subtle shifts in plane and curvature invite close looking, rewarding time and proximity rather than immediacy. What appears simple reveals complexity through time. ⚫️ Placed alongside furniture crafted with attention to proportion, joinery, and surface, the works echo a shared care for material and measured construction. ⚫️ Opening 16 January 10am to 7pm daily #sgartweek

What a pleasure it was to be part of “Tasting Justice: Off the menu” event yesterday with the Critical Craft Collective’s participatory art initiative in the form of a singalong entitled “Rasa Sayang (For the love of food)”. Celebrating food as a love language and the collective experience of singing and listening to a beloved folk song, we honoured the song (with the use of pantun) and its enduring legacy, and reflected on their lasting cultural resonances within Singapore and across the Nusantara archipelago. Through a process of public pedagogy and participation, the workshop encouraged participants to experience how songs and their lyrics have long been part of a wider oral and vernacular tradition. It was fun learning the sonic, textual and multilingual narratives in the song as acts of care and kinship – fostering connections and openness to differences through sound and music. Never had I ever thought I would need to lead prep/sing to our brilliant collaborators, Irsyad Dawood, JJ Keat & Rebecca Dass across different time zones & space but it was well-worth my time to care and focus on this song that is in Malay (the official language of Singapore) and is recognised by UNESCO as an intangible cultural heritage of Malaysia and Indonesia (and imho by extension, Singapore). It was also particularly useful to have the thoughtful conversations with you, Francis Maravillas, for the workshop to happen. I am also glad that my sarong installation (inspired by my father’s resourcefulness) once again was able to hold space for our guest speakers and participants. From the performance-lectures of Nathalie’s breadfruit to Keg’s banana, and our cempedak-pisang emas-nasi lemak related pantun, “Off the menu” brought many of us together to examine our relationship with different kinds of food. Thank you, everyone - rasa sayang eh, indeed! … Tasting Justice: the politics of food in art is curated by Francis Maravillas, Madeleine Collie, Marnie Badham and Stephen Loo (Tastes of Justice Curatorial Collective) and included talks, activations and performances by Nathalie Muchamad, Keg de Souza, and Critical Craft Collective, as well as a workshop by Elia Nurvista.

𝙋𝙚𝙧𝙥𝙚𝙣𝙙𝙞𝙘𝙪𝙡𝙖𝙧 𝘼𝙨𝙮𝙢𝙥𝙩𝙤𝙩𝙚𝙨 by Hazel Lim is a collection of drawings that uses stationery materials and coloured threads on paper to create intricate layers of colour and pattern. The forms and shapes are drawn from diagrams and schematics that the artist encountered while supporting her child through a demanding academic year, shaped by Singapore’s primary school mathematics curriculum. These visual fragments, once tied to routines of problem-solving and emotional labour, became a starting point for reflection and creative response. The artist reimagines these utilitarian forms, transforming them into abstract compositions that explore their aesthetic and structural possibilities. Materials and tools familiar from school—set squares, post-its, tapes, stickers, and stencils—are both used in the process and incorporated into the works, alongside layered coloured threads. The result is a body of work that reflects on the pressures of learning, the textures of daily repetition, and the labour of the hand as a quiet, persistent act of care and attention. Hazel Lim’s practice builds on visual vocabulary that explores how narratives and histories are constructed, often through themes of reimagined histories and fictive terrains. Working with text, drawing, and craft-based methods, she investigates how material processes, such as paper folding and needlework—can structure unconventional ways of storytelling and image-making. Her recent work turns to diagrams, colour theory, and paper craft as tools to question how visual and tactile forms might encode meaning, drawing on elements of science and mathematics, particularly systems and geometry—to explore structure, pattern, and spatial logic. ____ 𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗) 6 June - 13 July, 2025 Presented by Critical Craft Collective in collaboration with Hin Bus Depot Hin Bus Depot Exhibition Space 12pm - 7pm 𝘞𝘦𝘦𝘬𝘥𝘢𝘺𝘴 11am - 7pm 𝘞𝘦𝘦𝘬𝘦𝘯𝘥𝘴 All are welcome! #FromPalaisToPulau #hinbusdepot

Inspired by geometry & trigonometry 📐📏 Perpendiculiar Asymptotes #06 #09 #32 #37 #40 #54 #61 #68 #81 #90 Currently showing at 1 x 1 x 1 group exhibition @fostgallery until 21 June 2025 Photo credit: @ajamsali

Perpendiculiar Asymptotes is a collection of drawings where I used stationery materials and coloured threads on paper to create intricate layers of colour and pattern. The forms and shapes are drawn from diagrams and schematics that I encountered while supporting my daughter Hanna through a demanding academic year shaped by Singapore’s primary school mathematics curriculum. These visual fragments—once tied to routines of problem-solving and emotional labour—became a starting point for reflection and creative response. In this series, I reimagined these utilitarian forms, transforming them into abstract compositions that explore their aesthetic and structural possibilities. Materials and tools familiar from school—set squares, post-its, tapes, stickers, and stencils—are both used in the process and incorporated into the works, alongside layered coloured threads. The result is a body of work that reflects on the pressures of learning, the textures of daily repetition, and the labour of the hand as a quiet, persistent act of care and attention. Perpendiculiar Asymptotes can be viewed at the 1 x 1 x 1 group exhibition @fostgallery now till 21 June 2025. Photo credit: Fost Gallery

A big thank you to everyone who dropped by for the opening of 𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗). We’re truly grateful you joined us to explore the vibrant lineup of artworks, featuring talented artists from Malaysia and Singapore. 𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗) reimagines Mrs Beeton’s Book of Household Management, critically examining invisible labour, gender roles and the decentering of colonial legacies in the home. It considers how temperature, humidity and environmental factors intersect with urban redevelopment and climate change while reflecting on the historical trade connections between Singapore and Penang. Accompanying our exhibition is a series of public programmes designed to enrich engagement and understanding. These include roundtable discussions with artists, writers, and curators, as well as guided tours this weekend. The 𝘧𝘪𝘳𝘴𝘵 roundtable, Palais and Pulau, will gather participating artists, curators, and writers involved in the exhibition, moderated by Nicholas Song from Singapore. The 𝘴𝘦𝘤𝘰𝘯𝘥 roundtable will explore strategies for collaboration and community building, featuring Adeline Kueh and Hazel Lim from 𝘾𝙧𝙞𝙩𝙞𝙘𝙖𝙡 𝘾𝙧𝙖𝙛𝙩 𝘾𝙤𝙡𝙡𝙚𝙘𝙩𝙞𝙫𝙚, Alecia Neo from 𝙐𝙗𝙖𝙝 𝙍𝙪𝙢𝙖𝙝, Francis Maravillas from 𝙇𝘼𝙎𝘼𝙇𝙇𝙀-𝙐𝘼𝙎, Ivan Gabriel from 𝙃𝙞𝙣 𝘽𝙪𝙨 𝘿𝙚𝙥𝙤𝙩, Jet Pascua from 𝙈𝙤𝙧𝙚 & 𝙍𝙤𝙢𝙨𝙙𝙖𝙡 𝘼𝙧𝙩 𝘾𝙚𝙣𝙩𝙚𝙧, and Tetriana Ahmed Fauzi from 𝙐𝙣𝙞𝙫𝙚𝙧𝙨𝙞𝙩𝙞 𝙎𝙖𝙞𝙣𝙨 𝙈𝙖𝙡𝙖𝙮𝙨𝙞𝙖. (Please note that while the event is free, registration is required as seating is limited. Register now via the link in bio to secure your spot). ____ 𝗙𝗿𝗼𝗺 𝗣𝗮𝗹𝗮𝗶𝘀 𝘁𝗼 𝗣𝘂𝗹𝗮𝘂: 𝗥𝗲𝘁𝗵𝗶𝗻𝗸𝗶𝗻𝗴 ‘𝙃𝙤𝙢𝙚’ 𝗮𝗻𝗱 ‘𝙊𝙙𝙙𝙞𝙩𝙞𝙚𝙨’ (𝙿𝚎𝚗𝚊𝚗𝚐 𝙴𝚍𝚒𝚝𝚒𝚘𝚗) 6 June - 13 July, 2025 Hin Bus Depot Exhibition Space 12pm - 7pm 𝘞𝘦𝘦𝘬𝘥𝘢𝘺𝘴 11am - 7pm 𝘞𝘦𝘦𝘬𝘦𝘯𝘥𝘴 All are welcome! #FromPalaisToPulau #hinbusdepot

From Palais to Pulau: Rethinking ‘Home’ and ‘Oddities’; Curated by @lulu_enpassant & @_lim_hazel_ ; The Critical Craft Collective x Hin Bus Depot From Singapore to Penang, one island to another, the Critical Craft Collective (CCC) presents From Palais to Pulau (Penang Edition), in collaboration with Hin Bus Depot, following its successful debut during Singapore Art Week 2025. The project reimagines Mrs Beeton’s Book of Household Management, a notable Victorian-era domestic guide, to explore themes of invisible labour, gender roles, and the decentering of colonial legacies within the home. This exhibition foregrounds the often-overlooked ‘oddities’ and cultural practices that shape domestic life, paying close attention to how these narratives are situated within particular sites of presentation. The first edition, staged in a heritage shophouse in Singapore, responded deeply with the histories embedded in that space. The title signals a deliberate shift from European origins toward a Southeast Asian lens, moving from the European palais to the Southeast Asian pulau. In this context, participating artists responded to practices and rituals rooted in the home, including notions of care and artistic processes, particularly those shaped by heat and temperature as integral elements of artistic and domestic labour. The Penang edition at Hin Bus Depot continues the exploration of care and kinship through the work of intergenerational artists. This iteration expands on themes of island living, pulau-ness by highlighting shared and divergent ideas about home and household management. It considers how temperature and humidity intersect with ongoing urban redevelopment and the climate emergency, while reflecting on historical connections between Singapore and Penang as former trading posts. The exhibition poses critical questions: What shared notions of belonging shape our contemporary understanding of home? How do movement, displacement, reciprocity, and care influence the making and naming of a home? What other critical perspectives emerge in these contexts @hinbusdepot @nsek71 @jetpascuaartist @alecianeo @tetriana_ahmed_fauzi @francis_maravillas

Truly grateful and honoured to have a newly commissioned work Concrete Poetry as part of the wonderful corporate collection curated by @yeoworkshop and @frecklesaudrey for Freshfields’ new and sprawling office space in Singapore. Concrete Poetry is a continuation of the origami inspired series shown in late 2023 at a minor parallax exhibition that celebrates not just the unseen labour and work done by womenfolk in home settings , but also the humble paper - where every fold and weave accentuates its character and resilience. Thank you for this opportunity @yeoworkshop and the photo snaps with Minister @edwintong and Nicholas Lingard, partner at Freshfields.