Lim Soo Ngee (1962- ) is a Singaporean sculptor and educator who works with wood, bronze, resin and mixed media. Lim graduated from the Nanyang Academy of Fine Arts (NAFA) in 1989 with a Diploma in Fine Art (Sculpture) and later obtained a Master of Fine Arts in Sculpture from the Edinburgh College of Art, Heriot-Watt University, in 1997. In addition to his artistic practice, Lim is a senior lecturer at NAFA, where he continues to mentor and inspire a new generation of sculptors with his deep commitment to the craft.
Lim’s sculptures are distinguished by their figurative forms and whimsical narratives, often exploring the complex interplay between humanity, society, and the natural world. Rather than grandiose monuments, his works are quiet, poetic meditations on life, time, and memory - inviting reflection through their subtlety and wit.
A Tree was a special commission by Audrey Koh for 5 Kingsmead Road. The sculpture was constructed from the discarded tree trunk of the original rambutan tree in Chen Wen Hsi’s former home garden. After Chen passed away in 1991, the rambutan tree was kept thriving by the next owner of 5 Kingsmead Road but was eventually felled in 2019 to make way for the transformation of the site. Through A Tree, Lim explores the theme of renewal and rebirth through a process of deconstruction and reconstruction.
The tree trunk had been air dried for two years before Lim cut it into parts with a handsaw. Throughout the process, he handled the tree trunk in an organic manner that allowed its grain, imperfection, and density to influence the outcome. After assembling the parts into a sculpture characterised by grace, verticality and a sense of weathered nostalgia, Lim burnt and waxed the surface of the wood to achieve an even colour tone, preserving at the same time a handmade and tactile quality to the work.
The tree trunk had been air dried for two years before Lim cut it into parts with a handsaw. Throughout the process, he handled the tree trunk in an organic manner that allowed its grain, imperfection, and density to influence the outcome.
After assembling the parts into a sculpture characterised by grace, verticality and a sense of weathered nostalgia, Lim burnt and waxed the surface of the wood to achieve an even colour tone, preserving at the same time a handmade and tactile quality to the work.