About This Collection:

"New Windows"
I’m a collector of colors and shapes, shadows, and patterns. I assemble them and weave them together, move them around, search for the places they resonate. I'm fascinated by pattern pieces. The kind you use to sew a shirt or pants, which is something my mother and grandmother both did. When you cut out the shape of a sleeve, it isn’t shaped like an arm. It has flat sides and gentle curves. But there’s a sense that it mimics the body, like a geometric shorthand. My paintings are a kind of shorthand too. Every painting begins with a collection of shapes, colors, patterns, ideas about a place, point in time, or problem. But I let them depart from that point. Sometimes I begin with collaged material, magazine scraps or pieces of old paintings. These become outlines. Every surface takes shape organically and sometimes comes to reference a landscape or physical space. At the same time, their ambiguity is important to me, because it keeps them in motion. I want the viewer to find their own space within the picture plane. 

Keri Kimura | Mount Desert Island, Maine

Wallpaper Tantrum

Regular price $ 1,050.00
Unit price
per 
original art is always one of a kind

Medium: Acrylic on panel

Dimensions: 24" x 30"

Framed, ready to hang

Keri Kimura
Mount Desert Island, Maine

Keri Kimura’s paintings explore color, chaos, pattern, and time. She studied painting at Smith College, the Glasgow School of Art, and the New York Studio School. She lives in and works in Manset on Mount Desert Island in Maine.

To see more from Keri Kimura and to sign up for early access, find her collection page here.

About This Collection:

"New Windows"
I’m a collector of colors and shapes, shadows, and patterns. I assemble them and weave them together, move them around, search for the places they resonate. I'm fascinated by pattern pieces. The kind you use to sew a shirt or pants, which is something my mother and grandmother both did. When you cut out the shape of a sleeve, it isn’t shaped like an arm. It has flat sides and gentle curves. But there’s a sense that it mimics the body, like a geometric shorthand. My paintings are a kind of shorthand too. Every painting begins with a collection of shapes, colors, patterns, ideas about a place, point in time, or problem. But I let them depart from that point. Sometimes I begin with collaged material, magazine scraps or pieces of old paintings. These become outlines. Every surface takes shape organically and sometimes comes to reference a landscape or physical space. At the same time, their ambiguity is important to me, because it keeps them in motion. I want the viewer to find their own space within the picture plane.