Abstraction, layered structures, and unity of form and color are essential factors in the work of Lim A Po (1975, Adam). It can be defined by a layered palette and an organic character. At the same time abstracted into unrealistic form and new reality. With this, Lim A Po answers her search for a reduced concrete translation, to create a more objective image.

‘The work refers to the general splendor of nature, combining fragments of life, intimate spheres, and dreamy scenes.’

The modular installation Journal of Efflorescence consists of multiple components defined by an organic shape. For Lim A Po, this absolution of form is both a starting point as well as the destination. In predetermined frameworks a spatial layering originates, in which the relationship between color and form is decisive and of great significance. Contrast and texture work together to create layering and depth, to become one.

The components are made of cut outs: painted canvases cut up into organic shapes. For Lim A Po, each fragment is an abstraction of what once was. The fragments await their transformation, which takes place once the fragments have found their place and a new world opens. The result is very layered: optically three-dimensional with a strong sense of depth. It is a play of assembling, disassembling, and reassembling, looking for symbiosis.

Like the series Monochromen, Lim A Po searches in this work for an ultimate intrinsic value, a pure presentation of the emotional experience. By choosing abstraction over figuration, recognisability falls into the background, giving free play for the viewer to let the eye wander through planes, shapes, and lines, both over the surface and into the depths.

For this installation Lim A Po transforms the linen cut outs to a digital platform: the base for this installation. Every cut out is selected by its texture, form, and details, after which Lim A Po adds color and gradients to each piece. Adding this digital layer provides Lim A Po an unlimited creative freedom; small details are offered a blown-up existence and the digital color pallet is inexhaustible.

The modular installation has an interplay between light, dark and shade, between surface and depth and between hard lines and organic shapes. The installation can be assembled in a modular fashion. As a result, an exceptional role for the viewer is reserved. He is enabled to select and arrange the works according to his insights, potentially adding a new layer of interpretation to the works, giving way to new-fledged feelings and insights.

Journal of Efflorescence
No 1 - 9 | Editon of 5 p/no
Size 1*1m p/no