Blurring the boundary between architecture and art, Pamela Tan has established quite a niche for herself in the realm of public art. “I enjoy it because it allows me to be myself, to be experimental,” she declares. “If the work connects with who you are, there’s a sense of growth on a personal level.”
We’re sitting in Poh Sin Studio, her atelier that is named after her Chinese name. The space is populated with smaller versions of her artworks, some of which—to this art novice at least—recall paper cutouts. But it is a skeletal Nike shoe that catches my eye, a work Tan describes as “a marriage of architecture and sneaker”.
