Lynn Loo’s films can be divided into two categories – materialist and impressionist. She works with systems designed to challenge visual perception, creating connections between representation and abstraction.

The works are presented in various forms: single-channel, installation or live multiple-projection performance.

Born in Singapore in 1975, Lynn taught music before making her first film Untitled, in 16mm black and white. Her first experimental film brought her to The School of the Art Institute of Chicago in 1998. During this time, her films explore the dynamism in moving images and sound that form a kind of narrative without words. They can be described as poetic or diaristic. Her graduation film, Unfinished Symphony, earned her a Fellowship award with a cash prize that she used to purchase a Super-8 camera. In 2004, she had the opportunity to be artist-in-residence at The McDowell Colony in New Hampshire where she further developed more pieces such as Floating and Forlorn.

In the same year, she moved to London UK where she encountered a different form of filmmaking by local film artists. She immersed herself in the ideas of materialism and structural thinking. She produced an expanded cinema work Vowels (2005), a 16mm film double projection sound performance. This later became Vowels and Consonants (2005), a 6x 16mm film projection performance collaborating with UK film artist Guy Sherwin. This began the start of their partnership where they toured internationally with their combined expanded cinema works, often working with local sound artists and improvisation musicians. Examples of Lynn’s film performance works are; Autumn Fog (2010), End Rolls series (from 2009), Washi series (from 2014) and Asanoha (2024). Her philosophy in this way of working is that in shapes, forms and movement there is depth and complexity in simplicity.

She continued producing short digital single channel pieces such as Walk to Station from Work (2013) and Shadowplay Ginkgo (2024). These led to her recent digital work Conversation series from 2021.

Lynn has curated artist film programmes, on the jury panel for International film festivals such as Ann Arbor Film Festival. She has participated internationally in film, sound and arts festivals and exhibited in institutions and galleries: Rotterdam International Film Festival; EXiS 2009 Experimental Film Festival South Korea; (S8) Peripheral Film Festival Spain; Performance Biennale New York, Tate Modern and Tate Britain London; Singapore International Film Festival; Eye Film Institute Amsterdam; Café Oto London, L’Âge d’Or Brussels; He Xiangning Museum China and Yebisu International Festival for Art & Alternative Visions Tokyo.

Her practice has been mentioned in selected publications: Cinema Expanded. Avant-Garde Film in the Age of Intermedia by Jonathan Walley; Experimental and Expanded Animation. New Perspectives and Practices, edited by Vicky Smith & Nicky Hamlyn. Her conversation with Guy Sherwin is published in Film Talks, edited by Simon Payne and Andrew Vallance. Her essay A Series of Accidents, was published in English and Korean in ‘Asia Experimental Media Issue’ published by EXiS. Seoul in 2009, also in Chinese in 富代驾藝術&投資 Contemporary Art & Investment, 2010 July issue 43.

Lynn acquired her Masters in Film Studies with Archiving in 2006 at University of East Anglia UK. She worked at Time-based Media Conservation at Tate Gallery and is now at British Film Institute National Film and Television Archive. In 2017, she started a project with Dr Louis Curham from Teaching Learning Cinema, Canberra ‘Re-enactment as Preservation’ using her film Autumn Fog as a case study.