Both a performance artist and master ceramicist, Singapore-based artist JASON LIM is known for his ceramic pieces that transcend their traditional functionality—turning them into raw, organic sculptures deeply connected to ecology, mythology and spirituality. His ceramic pieces thus go beyond being merely objects of beauty, to subjects that provoke thought and interaction with the viewer. Like his sculptures, Lim’s performance art pieces are known to be unconventional and provocative, exploring the energetic, transient characteristics of his materials and encouraging moving, meditative connections with his audiences. While he often works across media and continually reflects his versatility as an artist, his practice, which spans almost three decades, has consistently been rooted in his thoughtful explorations with nature and its endlessly enchanting phenomena.
For this show, Lim presents two works on paper that are drawn from his iconic series entitled Under the Shadow of the Banyan Tree. The series originated from his performative piece wherein he molded transient sculptures inspired by the raw, majestic forms of the banyan tree—which, Lim eventually learned, held deeply rooted spiritual meaning in Hinduism and Buddhism.
UNDER THE SHADOW OF THE BANYAN TREE 7
2017
Graphite and charcoal on paper
151 x 90 cm
Coming from the same fig tree family as the banyan, the Bodhi tree, for instance, is believed to be the tree under which the Buddha sat patiently for seven days until he reached enlightenment. Rendered in ink and charcoal, Under the Shadow of the Banyan Tree – Moving Closer and Under the Shadow of the Banyan Tree 7 reveal a different dimension to Lim’s banyan tree investigations that diverts from his grand, sculptural displays.
UNDER THE SHADOW OF THE BANYAN TREE — MOVING CLOSER
2017
Graphite, ink, and charcoal on paper
90.5 x 151 cm
Here, he employs the intimacy of the medium and monochromatic charcoal tones to emphasise the drama of its dark shadows; the convolutions of its wild, snakelike roots; and the haunting, mystifying quality of its quiet, hidden details; as if those never-ending roots and branches held in them age-old secrets. Yet, like with his meditative performance piece influenced by the banyan tree motif, Lim similarly reflects a sense of disciplined devotion in these pieces, as revealed through the patient, painstaking work he evidently poured into achieving their masterful intricacy—ultimately expressing Lim’s profound connection not only to the tree’s natural and physical forms, but its mystical implications.
NESTING VINES 2
2020
Graphite, ink, and charcoal on paper
53 x 75 cm
In his more recent paper series created in 2020, Lim similarly employs the charcoal medium to sketch complex lines, shadows and shapes drawn from sublime natural abstractions—but this time, washes the patterns in a subtle, pale warm tone as he incorporates watercolour and pastel mediums. And rather than the long, endlessly running roots of a banyan tree, the shapes depicted here are curved or formed into circular wholes.
Nesting Vines 2 and Nesting Vines, for instance, are made of four and two parts respectively, containing frail, stem-like shapes to create luscious nests that subtly evoke warmth, softness and comfort.
NESTING VINES
2020
Graphite, ink, charcoal, and pastel on paper
53 x 37.5 cm
VIVARIUM
2020
Graphite, ink, charcoal, and pastel on paper
53 x 37.5 cm
Vivarium similarly reveals a close up perspective of the same thin, curved lines; appearing as if they were part of a larger, lush habitat. Juxtaposing his more haunting, mystical banyan tree pieces, these recent works offer an earthy, grounded quality—rooting viewers in the more nourishing aspects of nature, rife with these small pockets of home.
