Simon CHIM

Chim Pak-kee, Simon was born in Kowloon City, Hong Kong. In the year 2000 he is known as SIMON CHIM. This simplified version of his Chinese name bears an even more refined signature, a distinctive and elegant inscription that is also a stamp of his individual brand.

He is the ninth and youngest sibling of his family of six brothers and five sisters. Mr. Chim senior was a manufacturer of injection plastic toys. His exposure to the world of form, molding and the extrusion techniques he had witnessed as a child playing in his father’s factory would prove invaluable in his understanding of the thought processes behind much of the applications of his later work, both creative and commercial. Notwithstanding of his lack of positive influence and support from his family during his formative years, Simon’s conviction and desire to follow a career in the creative world was evidenced in the excel in his artistic studies.

Between 1985 and 1987, he left Hong Kong to pursue his dream and studied in an art and craft high school in Taipei, Taiwan where he flourished in a progressive and nurturing environment.  In 1986 a work called “Rhythm of the Ink” was selected above all others as one of the two youngest artists to participate in the “Abstract Ink Painting in Asia” show at the Taipei Fine Art Museum. He was then accepted into the 2nd year studio art program at Capilano College in Vancouver, Canada in 1988.

At a young age he advanced to the 3rd year 3-dimensional studies at Emily Carr College of Art and Design.  He graduated and majored in fine art at 1991. His pursuit of knowledge and thirst to hone his skill in sculpture in particular the mastery of woodwork was strongly demonstrated in his graduation exhibition, a remarkable exhibition of sculpture, titled “Family Plot”, which explored the relationships within family that were expressed in a series of forms that drew on Ming Style Classical Chinese Furniture in a spatial juxtaposition of positive and negative elements. In order to understand the practicalities and functionalities of furniture making, he sought an apprenticeship with Vanarch Wood Works in Vancouver right after his graduation.

After returning to Hong Kong, his encyclopedic knowledge of Classical Chinese furniture was put to commercial advantage and he co-founded Co-Ming Antiques Ltd. Among the diverse activities resulting from these associations was a series of seminars and lectures on Chinese Antiques Furniture for groups such as the American and Australian Women’s Associations and German Consulate General. His natural flair for interiors resulted in commissions from his many clients to help place the antique and meld them into his unique one of a kind contemporary setting.

From 1995-1998, he traveled extensively and studied in the galleries and design studios of the world’s centers of art and design. In 1999, he resumed the mantle of interior and products design garnered high demand of many commissioned works.

Being a sculptor, he has acquired lots of hands-on experience working with different materials.  Since the beginning, his creations have been well received by international buyers and, as a result, he has continued to create his works using innovative amalgamation of materials and unusual techniques. His “Recycle Paper Frames” collection is a good example of his foresight by using basic and recyclable materials to achieve maximum visual effect whilst still being environmentally friendly at the same time before the turn of the 20th century.

Identified himself as a proud Chinese although born in the colonized era of Hong Kong, he has always been truthful to his root and enthuses in seeing his works created in China from where they are distributed worldwide.  His creations leverage the tradition of quality and craftsmanship incorporate his unique Chinese artistic sensibilities. His proximity to China and the production base puts him in an advantageous position; the link between creating and producing is shortened. Throughout his artistic journey, he always challenges the so-called established norms for design and technique to allow his creativity to blossom. He seldom creates without unusual structural or technical features. He never settles for concepts that are ordinary or mundane.

His first lend of his works to commercial art fair last year was also accepted by Affordable Art Fair 2017 in Hong Kong.