Buffy Kimm who is a painter and a mixed media artist focuses on experimental and mainly abstract, being split between works using paper as the main medium, etching and sculpture using found objects. Her background as a set designer has had a huge influence on my work. The skills of model making and technical drawing are evident in her pieces, and she finds inspiration through photography, particularly abstract detail in architecture, natural forms and textures. She uses these images as a starting point, abstracting shapes and playing with texture and scale until she has created something different and exciting. Buffy's work is both experimental and playful.
Kimm takes inspiration from the obscure and unusual, using both nature and architecture as sources through photography. She likes to experiment with differing media to explore innovative expressions for her work.
She aims to inspire the viewer to look more carefully at their surroundings and to see what is actually there, but is perhaps not obvious. She tries to find what others leave unnoticed and uses her photography as a springboard to create works that reflect the magic that is there to be seen, but is often ignored.
Currently she is working in card, paper, found metal and wood; creating three-dimensional works that play with light and shadow. She also uses etching as medium and again, takes inspiration from photography. Her work is both experimental and playful.
SBP 3 4 5 is a triptych made from hand-cut Fabriano paper on acrylic. In these works, she wants to highlight the plight of the planet, global warming and climate change, by representing our fractured world in this trio of images. These pieces depict melting ice floes, cracked earth and erosion.
SBP 345 Triptych, 2018, 620 x 420 mm each, Fabriano paper on acrylic
Rust and Spikes 1, 2021, 450 x 350 mm, Rusted metal and recycled MDF
Rust and Spikes 1 is created from found metal, rusted over time, and recycled MDF.
Kimm collects discarded materials and creates new artworks from this unwanted detritus. She wants to represent the coexistence of erosion along side the potential for recycling, juxtaposing natural erosion with manmade complexity.