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Hings Lim

Hings Lim (b. 1989, Kuala Lumpur) is a process-oriented artist who addresses the interconnectivity and performativity of things. His interdisciplinary practice is resembled by a diverse use of medium that includes video, image, object, performance, and situation. His works, often participatory, explore the notion of becoming while echoing the rethink of the in between of subjectivities. Hings received his BFA degree from the Universiti Malaysia Sarawak, Malaysia and he is currently pursuing an MFA degree at the USC Roski School of Art and Design where he is recipient of the USC International Artist Fellowship.

He also received the Petronas – P. Ramlee Chair’s Award in 2012 and completed the Southeast Asian Artist Residency Program at Rimbun Dahan, Selangor, Malaysia in 2018. He has had a solo exhibition at Richard Koh Fine Art, Kuala Lumpur. Selected group exhibitions include ‘GLAMFA 2020: Double Play’, CSU Long Beach Art Galleries, Long Beach, California; ‘Young Contemporaries Award’, National Art Gallery, Kuala Lumpur; ‘Art Stage Singapore’, Singapore; and ‘Malaysian Art: A New Perspective’, Richard Koh Fine Art, Kuala Lumpur. He was one of the founders of Lattalilat, a community art project, and exhibited at National Art Gallery, Kuala Lumpur; MIA College Gallery, Kuala Lumpur; FACA Gallery, Sarawak; and Muzium & Galeri Tengku Fauziah, Penang, Malaysia.


Hings Lim

Flaming Tower, 2019-2020
Wax, wicks, dye, stainless steel
60 x 25 x 25 inches


Detail image

Detail image

Hings Lim’s Flaming Tower, with its rivulets of hardened wax, is an object with a before and after. Before it is lit, the wax holds its shape, afterwards, it once again takes on a semi-rigid form; between these states, the wax is warm, soft, and malleable.

In order to create this piece Lim drew upon another type of sculpted form—bifaces, or hand axes. Thought to be the longest-used tools in human history, dating to the Lower Paleolithic period (before 300,000 years ago), these tools were typically made of flint and are hypothesized to have had myriad uses. Using 3D modeling data that corresponds to artifacts in the holdings of the North Carolina Archeological Collection, Lim printed 3D models of selected hand axes, which he subsequently used to create his own wax replicas. Fitted with wicks and molded in various colors, Lim’s bifaces provided the fuel for Flaming Tower.

Each of these bifaces reflects the delicate details of the originary flint flakes; molded in wax, their edges are almost transparent in contrast to their darker cores. The delicacy of these pliant objects makes the survival of their abstracted source material all the more improbable, and suggests that perhaps these primordial rocks can be seen not only as ancient tools, but as a form of ancient sculpture. Flaming Tower, like the Paleolithic artifacts from which it draws its specifications, is a work that holds time, visibly marking its passage. – Kate Rouhandeh


Kate Rouhandeh is a writer and curator from New York living in Los Angeles. She is currently an MA candidate in Curatorial Practices at the University of Southern California and holds a BA in English Language and Literature from the University of Chicago. 

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