At the heart of Lim's work is a deep-rooted exploration of identity. Drawing from her mixed Singaporean and British heritage, she delves into the historical intersections of these cultures, particularly as reflected in furniture, objects, and architectural designs. Lim's intrigue with Chinoiserie, an 18th-century design trend that melded Chinese aesthetics with European tastes, results in sculptures that reclaim this cultural mosaic with both consciousness and creativity.

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Furthermore, Lim's engagement with Anne Anlin Cheng's 'Ornamentalism' punctuates her artworks. This feminist theory, which delves into the portrayal of East/South East Asian femininity as inherently ornamental, resonates powerfully with Lim's own examinations of identity. For Lim, the over - ‘ornamentalisation’ or flamboyance of her work has become a way of pushing against fixed notions of identity and race that are often a point of confusion and struggle for those who come from mixed cultural backgrounds.

Lim has previously had solo exhibitions at renowned spaces including Edinburgh Printmakers and Huxley-Parlour gallery, and has featured in group exhibitions with The Royal Scottish Academy and Bloomberg New Contemporaries. Following her recent commission for the Tate Collective, Lim is currently Pangolin London’s artist in residence for 2022-2023.