Our urban surroundings are often a source of delight. The rhythm of seasonal change, ash seeds scattered on the ground, dispersed by the wind; find themselves outlining doorways and cracks in pavements.
Botanical forms fluid in line and shape can withstand multiple printing through the press. The small things form a narrative, a lyrical contrast to our increasingly man-made environment. The work becomes a visual inquiry of how these two worlds co-exist.
Her printmaking process evolves through experimental ‘hybrid’ approaches, where combinations of techniques often yield unexpected outcomes. This process of organic exploration is where she feels most at home and happily lost at the same time.
Monotype processes often start with using leaves directly through the press to form subtly embossed layers. This is where the stories begin to take shape. Screen-printing allows Kim to celebrate the almost playful personality of the botanical world, in contrast to the mechanised nature of the process.
Prints are often worked over repeatedly, and decisions are made quickly. The element of chance in the making process, pays homage to the cyclic change happening outside. Printmaking is a medium, a vehicle by which she can document and enchant.