Writer & Filmmaker
Wayne Lim is a multidisciplinary artist
from Singapore, based in Boorloo/Perth.
Grounded in an ongoing search for self and home, his practice incorporates lens-based works, durational performances, and social engagement, with an interest in understanding place through a psychogeographic lens as an immigrant artist. Most recently, he performed an endurance work in which he walked from one end of Perth to the other, covering 155km in five days and sleeping in guest rooms along the way.
Trained as a visual journalist, his work has been published in Austin’s alt-weekly The Austin Chronicle and Singapore’s daily broadsheet The Straits Times, and awarded at College Photographer of the Year, the world’s largest collegiate photojournalism competition. His documentary films have also screened in competition at the Academy Awards-qualifying Short Shorts Film Festival (Japan), among others.
To See and To Know (2026)
To Trace the Coastline in No Hurry (2026)
Innaloo (2026)
Apparatus for Long-Distance Recall (2025)
Measures of Distance (2024)
Documentary Films and Photography
Certain Deaths (2025)
Fading Frequencies (2024)
Everyday Heroes (Iceland, 2024)
Unlearning, Relearning (2023)
Presidential Election (Singapore, 2023)
Bachelor of Communication Studies
(First Class Honours)
2025
Film Festival (Thailand)
Young Filmmaker Award
2026
79th College Photographer of the Year (US)
Gold, Individual Multimedia Category
2024
Quick Response Residency
2026
Film Festival
Bangkok, Thailand
2026
Short Shorts Film Festival & Asia
Tokyo, Japan
2025
International Association for Media and Communication Research (IAMCR) Conference
Singapore
2025
Singapore Youth Film Festival
Singapore
2024
26th YOUKI International Youth Media Festival
Wels, Austria
2024
Objectifs FreshTake!
Singapore
2024
Short Circuit 7
Singapore
2023
UT RTF Longhorn Denius Student Film Showcase
Austin, Texas, USA
2023
Third Place ARI, Perth, Australia
2026
Shifting Impressions
NUS Museum, Singapore
2026
Mind The Gap
Gillman Barracks, Singapore
2025
Between Queerness and Religion
Singapore Film Society, by Amadeus Yeo
2025
Inkjet prints on paper, collected objects, handwritten letters
2026
To See and To Know was a durational performance in which I walked 155km over five days, from one end of Boorloo/Perth to the other, sleeping in guest rooms along the way.
Simultaneously an image-based, socially engaged, and endurance work, the project explores the potential of physical and social immersion to understand place through a psychogeographic lens as an immigrant artist.
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This week I walked 155 km over five days from Mandurah to Yanchep, in an attempt to see and know Boorloo/Perth from one end to the other. I was severely underprepared but pushed through with the generous support of friends, acquaintances, and strangers.
I ate pies, burgers, Chinese takeout, curries, soups, muffins, Shapes, peanuts, gummies, and drank Powerade for the first time. I watched a snake get run over despite using a zebra crossing. I witnessed a helpless petrol station worker fail to stop someone from shoplifting. But I also saw two women helping a lost and injured child in a park. And got called out twice for taking photos of cars and driveways, not out of anger but concern that others would find me suspicious.
I walked mostly on bike paths, but also on grass, dirt, sometimes in the dark, and sometimes along the road, feeling the wind brush past my right ear as cars went by. It was often in fear, pain, and danger that I felt most alive.
I got caught in intermittent rain on four out of five days (when Ray asks about it) — the kind that comes out of nowhere and soaks you before you can get a raincoat or umbrella out of your bag, and leaves you with soggy feet under the scorching sun just five minutes later.
I listened mostly to the wind, the birds, and the cars, with almost no music and occasional eavesdropping. The distance seemed to stretch as I lost count of the number of car dealerships along Albany Highway and took photos of every new neighbourhood under construction, complete with identical houses and unnervingly dystopian slogans, including: “The happiest turn you’ll ever make!” and “Live on the seaside of life!” And by about 4 pm each day, I would start muttering to myself some variation of just keep going, just keep going, just keep going, or keep the pace, keep the pace, keep the pace, or try to count the number of steps (and lose count before five hundred each time) to take my attention away from my toes, ankles, and knees.
I’ve known for a while that I needed to go on this pilgrimage of sorts, to attempt to understand what it means to live in this new home. Now I know that there will always be nothing and everything to see, that the city is its people, and that I do have it in me to just keep going.