About
Sim Kim Cheng Uniz is an artist-educator who specialises in fashion production and digital garment development.
With over two decades of experience across fashion digital processes and garment development, Uniz has worked with organisations including Adidas, Nike, and Calvin Klein (PVH) where she also led training and technical support initiatives.
As an adjunct lecturer at Nanyang Academy of Fine Arts (NAFA), Uniz focus on digital fashion, using digital tools to develop and visualise designs in 3D, as well as produce technical package that communicate design and construction in the production process.
Her artistic practice grown from fashion and digital process into interdisciplinary research exploring relationship between people, materials and our more-than-human neighbours.
She creates wearable forms and participatory experiences that invite people into a different rhythm, offering moments of attentiveness and curiosity as an alternative to the speed and efficiency of urban life.
The Borrowed Cloak (2026)
Textile and performance
Inspired by the form and textured surface of tree bark, the cloak acts as a threshold, shifting the Borrower’s and audience's perception with their surroundings. During the performance, the Borrower adopts a different rhythm of being, whether in a natural environment or indoors. For the audience, altered presence of the body invite a pause and a different way of looking.
A Journey Through Thresholds
This project consists of a series of works that were developed through an ongoing exploration of ecological relationships.
My research began with a simple question: how can we practise sustainability in our own ways, making small changes to our everyday habits? My background train me to value speed, efficiency and practical solutions. I therefore began by looking at how making processes could be made more sustainable.
Over time, my research move from speed to attentiveness, from distant nature to everyday ecology, and from hesitation to encounter. Each shift opens a new threshold. Through stories, personal encounter and material experiments, the project gradually progress towards relational and embodied encounters with the land.
The works that emerged explore how we might create pockets of time within our daily lives to notice and become acquainted with our more-than-human neighbours.
Stories We Step Into (2026)
Mixed media on discarded fabric
Stories We Step Into is a participatory textile installation that gathers fragments of memories and thoughts. These fragments were made into a series scrolls, creating a space that visitors can enter physically. Stepping into the work becomes an invitation to pause, encounter the experiences of others and reflect on their own relationship with the land we inhabit.
Research methodology and theoretical framework
Beginning with Green Sprout, an exploration of sustainability through improving making processes, my research gradually evolved towards relational and embodied encounters with the land. It now develops through direct encounters with observation, conversation, participation and material experimentation.
