Award-winning artist and architectural designer Pamela Tan, is creating captivating work through her cerebral exploration of art, architecture and design
Pamela Tan, the creative force behind Poh Sin Studio, is a designer whose visionary approach transcends traditional boundaries. Tan has been blazing her path since she started Poh Sin Studio, her atelier named after her Chinese name, in 2018, creating mesmerising installations that blur the boundaries between architecture, design and art.
Her Eden installation, commissioned by a developer to reflect nature, won the Bronze award in the Design for Asia Award 2020 under Environmental Design. However, instead of lush greenery, Tan created an intricate all-white garden of delight which invites visitors to re-discover how nature can be experienced.
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Above Pamela Tan, founder of Poh Sin Studio (Photo: David Yeow)
Since then, she has gone on to create more work, including Projection: Kite commissioned for the Good Vibes Music Festival 2019, which won the Merit award alongside Eden; Lend Me Your Wings, I Pray, an ethereal artwork commissioned for Thomson Hospital; Memory Veil, a festive installation at Pavilion Kuala Lumpur that recalls the nostalgia of beaded curtains; Endless Frames, an installation at Chinatown’s Kwai Chai Hong for the Mid-Autumn Festival in 2022, and Sunnyside Up a bright yellow installation to brighten up daily commuters at the Pasar Seni MRT station.
A Master in Architecture graduate from the University of Greenwich, Tan’s strong academic background has shaped her innovative approach to design. Indeed, Tan’s versatility and attention to detail, coupled with a deep understanding of spatial planning and structural design, has resulted in projects that redefine space that inspire and enhance the way people interact with their environment.
Tatler Homes speaks to Tan about her creative process and how her work defies easy categorisation.
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What was the impetus behind starting Poh Sin Studio?
I always wanted to have an art and design-driven practice that constantly speculates, experiments and creates new experiences. Experience that brings out an individual childlike wonder that is always filled with surprise and delight.
I am happy that I received many wonderful opportunities from clients from various fields of background. It just shows that art comes in all forms and can be celebrated in many ways.
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How did you start working with 3D printing?
I started exploring 3D printing during my master’s degree in architecture studies in 2014. I experimented with it because it allows more design freedom to create complex shapes, intricate details and internal features that would be challenging or impossible with traditional techniques.
What are the unique design outcomes which are only achievable with 3-D printing?
Other than the ability to create highly complex geometries, it can also produce organic shapes, intricate detail and internal feature, which is difficult or costly to fabricate using traditional techniques.
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What is your design process like?
My design process normally starts with a question or certain subject matter that is compelling enough to explore in-depth. It slowly develops into scenarios or narratives, which enables me to translate it into a physical or spatial medium. My favourite part would be the experimentation phase, which is the process of experimenting with materials in a new form through prototyping.
Tell us about your recent exhibition at the Beijing Times Art Museum, China
The exhibition is called Wavelength: A Momentary Spring, which consists of 14 international contemporary artists and art groups creating 14 sets of contemporary art installations in the Beijing Times Art Museum which showcased the unique artistic sceneries in different “moments” of life. I represented Malaysia and the work that I exhibited there is Eden which is an existing work I did back in late 2018. The exhibition ended in July and is on display at Chengdu Times Art Museum tentatively August 2023.
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How about your public installation Sunnyside Up?
Sunnyside Up is a staircase installation located at the underground MRT Pasar Seni train station. The installation hopes to brighten up daily commuters as they explore the city or head off to work while greeting those on their journey home after a hard day’s toil, adding a small and joyful gesture towards KLite’s daily lives.
Sunnyside Up is part of Art On The Move KL, a collaborative program by My Think City and MRT Corp. The installation went on display in February and will be tentatively up till December this year.
Sunnyside Up received a huge response from public users. One of them shared their thoughts about the installation on Twitter, which became quite viral. The Twitter posting sparked conversation and discussion about suggestions to have more public art in train stations and other parts of the city.
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Will your work move away from straddling art, architecture and design?
My practice is very collaborative-based. I like to keep it open, and I enjoy the versatility. It opens up different avenues of new meanings and experiences.
What projects are you working on now?
I’m currently working on a centrepiece sculpture for Kapten Batik’s store in Penang, which is designed by MLA Design. I’m also working with the Wavelength team to exhibit Eden again at Chengdu Times Art Museum tentatively this coming July to August. The exhibition coincides with the Chengdu Biennale 2023.
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What drives your work? What and who inspires you?
I see my past and present work in the form of a series. There’s always a continuous chapter to work on, and sometimes it diverges into a new or different chapter.
So the constant thought of the many possibilities the work could go is what keeps me going. There are many people who I look up to and who have helped me in my career. Family, friends, mentors, and fellow creative industry peers.
What are your hopes for the future?
I hope to have more of my dream work to be realised.
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