Kimber Berry

Plastic Gardens, Abstract Art , textured, dimensional, colorful, White, painting

2012

Kimber Berry, Liquid Landscape 0711, Acrylic and Mixed Media on Canvas. It is 18x12 inches. This is a layered, dimensional contemporary painting. It...

Kimber Berry, A Dance With Dragons, Acrylic and Mixed Media on Canvas, 72x48. It is in a float white frame. This is a layered, dimensional contempora...

Kimber Berry, Liquid Landscape 092708, Acrylic and Mixed Media on Canvas, 36x60. This is a layered, dimensional contemporary painting. It is filled with pinks, white and vibrant colors. Berry is a California "Flow" artist. Kimber Berry is a Los Angeles artist, who is part of the "Flow Movement," a term coined by Art Critic (and curator) Peter Frank. Her artwork is vibrant and dynamic mixed media combining acrylics, resins and digitally altered photographs of her paint-strokes. As a native of LA, Kimber loves to blur the line between what is real and what is illusion. In this latest series, Plastic Gardens, Kimber addresses the ongoing diminishing natural environments. According to Kimber, "Amongst hundreds of thousands of miles of concrete and steel we feel a distance from nature and are compelled to create green spaces, oasis, parks and gardens of cut grass, pruned trees and waterfalls constructed of painted concrete rocks encircled by highly designed flower beds, essentially nature on our terms. I've constructed this series of paintings inspired by these plastic gardens." Berry has received a lot of positive attention from art critics and curators on the West Coast and has been featured in solo and group shows in New York, LA, Atlanta and London. She in exhibits at the Riverside Museum and the Huntington Beach Art Center in California. Berry has been was featured in the magazines Art LTD, Hamptons Cottages & Gardens, Ocean Home...

Only Elephants Should Wear Ivory by Kimber Berry. It is Acrylic and Mixed Media on Canvas, 36x36. This is a layered, dimensional contemporary painting. It is filled with white and vibrant colors including purple, pink, blue, green, and teal. Berry is a California "Flow" artist. Kimber Berry is a Los Angeles artist, who is part of the "Flow Movement," a term coined by Art Critic (and curator) Peter Frank. Her artwork is vibrant and dynamic mixed media combining acrylics, resins and digitally altered photographs of her paint-strokes. As a native of LA, Kimber loves to blur the line between what is real and what is illusion. In this latest series, Plastic Gardens, Kimber addresses the ongoing diminishing natural environments. According to Kimber, "Amongst hundreds of thousands of miles of concrete and steel we feel a distance from nature and are compelled to create green spaces, oasis, parks and gardens of cut grass, pruned trees and waterfalls constructed of painted concrete rocks encircled by highly designed flower beds, essentially nature on our terms. I've constructed this series of paintings inspired by these plastic gardens." Berry has received a lot of positive attention from art critics and curators on the West Coast and has been featured in solo and group shows in New York, LA, Atlanta and London. She has been in exhibits at the Riverside Museum and the Huntington Beach Art Center in California. Berry has been featured in the magazines Art LTD, Hamptons Cottages & Gardens, Ocean Home...

Kimber Berry, Thank You for the Magic Carpet Ride, Acrylic and Mixed Media on Canvas, 48x48. It is framed with a white float frame. This is a richly layered, textured, dimensional contemporary painting. It is a colorful painting filled with pink, purple and blue with a splash of white. A combination of acrylic paint, resins, and photographic collage. Kimber Berry is a Los Angeles artist, who is part of the "Flow Movement," a term coined by Art Critic (and curator) Peter Frank. Her artwork is vibrant and dynamic mixed media combining acrylics, resins and digitally altered photographs of her paint-strokes. As a native of LA, Kimber loves to blur the line between what is real and what is illusion. In this latest series, Plastic Gardens, Kimber addresses the ongoing diminishing natural environments. According to Kimber, "Amongst hundreds of thousands of miles of concrete and steel we feel a distance from nature and are compelled to create green spaces, oasis, parks and gardens of cut grass, pruned trees and waterfalls constructed of painted concrete rocks encircled by highly designed flower beds, essentially nature on our terms. I've constructed this series of paintings inspired by these plastic gardens." Berry has received a lot of positive attention from art critics and curators on the West Coast and has been featured in solo and group shows in New York, LA, Atlanta and London. She has been featured in exhibits at the Riverside Museum and the Huntington Beach Art Center in California. Her art was highlighted in the magazines Art LTD, Hamptons Cottages & Gardens, Ocean Home...

Kimber Berry, We Didn't Think They Would Steal the Gods, Acrylic and Mixed Media on Canvas, 40x30. This is a layered, dimensional contemporary paintin...

Cheryl Warrick (American, b. 1956), "By Ones By Twos" Acrylic mixed media on panel, 1999, Hand signed in pencil, titled and dated verso, gallery label...

This depicts civil rights icon MLK, the Statue of Liberty, Iwo Jima, an assemblage of mixed media photographic images and painted collaged elements. A powerful, moving work, an ode to the black civil rights movement. John M. Mitchell is originally from North Carolina, and as an art student at North Carolina Central University, he was involved with the Civil Rights movement including participating and getting arrested at a sit-in protest in Durham in 1963. After graduating, he was one of the first art teachers to take a position at the newly integrated schools in his home state. Mitchell continued his education in the 1990s and earned an MFA in painting from the Savannah College of Art and Design in 1993. He later served as a professor there from 1998-2006. Of his inspiration to create, Mitchell says: "A lot of my work is based on my experiences during the Civil Rights movement," he says. "I see art making as a 'record' of experiences. My bittersweet past, growing up in the segregated South, inspires the content, focus and narrative of my work." Savannah-based artist John Mitchell believes that a home is more than a simple edifice. Rather, he argues that the sociological, psychological, architectural, and historical associations embedded in the structure “tell us about our culture, our lives. It tells us about where we come from.” Mitchell's signature shotgun house constructions, crafted from found materials and scraps of newspaper headlines, reference his childhood in North Carolina, where such modest architectural structures were once commonplace. In "ALA 1963," he uses the shotgun shape to create a heartfelt memorial to a group of African-American girls killed in a racially motivated church bombing in Alabama nearly 50 years ago. He also incorporates the shotgun symbol in "Victims," a powerful reflection upon crime in Savannah in the early 1990s, which reveals how little has changed over the past two decades. Mitchell's mixed media constructions operate, in many ways, like memory itself. Scraps, fragments and pieces loosely cohere around a central idea, making symbolic and metaphorical connections. In these richly narrative and boldly stream-of-conscious assemblages, the whole truly is greater than the sum of its parts. Mitchell's jazz collages - carefully crafted from scraps of newspaper, sheet music, magazines and tissue paper - celebrate key players in Savannah's jazz scene, from sultry female vocalists to wiry male saxophone players. A tribute to the late jazz bassist Ben Tucker, a true Savannah legend, is especially moving, incorporating a pencil sketch of the standing bass player as well as newspaper clippings of other Savannah jazz musicians. Mitchell grew up in a shotgun house in North Carolina, a style of vernacular architecture that is particularly prevalent in the South. Mitchell fills his sculptural homes with objects of metaphorical and symbolic, iconic, importance. In Home Sweet Home he includes the American flag, a photograph of Martin Luther King Jr. and Malcolm X, and a china plate depicting The Last Supper, among other items that convey a personal and historical narrative. He notes that making art acts “as a ‘record’ of experiences. My bittersweet past, growing up in the segregated South, inspires the content, focus, and narrative of my work.” While this contains elements reminiscent of folk art and outsider art this is a quite sophisticated tour de force. He was included in the show Complex Uncertainties, Telfair Museum: Modern and contemporary art comprise painting, prints, drawing, photograph, sculpture, and works in new media, representing American artistic achievement from 1945 to the present day. The exhibition includes works by artists such as Bruce Davidson, Elaine de Kooning, Carrie Mae Weems, Sam Gilliam, Ethel Schwabacher, Radcliffe Bailey...

Dakota Nightshade (Native American, Indian piece) Mixed media (ink, paint etc. red thread stitching) Framed 43 X 57 sheet 36 X 49 Hand signed, dated and titled by artist. (with a location of LA noted) This came with a group of 4. they are all signed and one had a Daniel Reich Gallery label verso. Scoli Acosta...

Shadow of Opportunity on Red Planet Mixed media Framed 39.3 X 50 sheet 32.4 X 42.3 Hand signed, dated and titled by artist. (with a location of LA noted) This came with a group of 4. they are all signed and this one had a Daniel Reich Gallery label verso. Scoli Acosta...

In External Horizons Mixed media (ink, paint etc.) Framed 43 X 57 sheet 34.5 X 48 Hand signed, dated and titled by artist. (with a location of LA noted) This came with a group of 4. they are all signed and one had a Daniel Reich Gallery label verso. Scoli Acosta...

Created in dynamic layers of glossy cobalt, this Storm Surge tondo by Shayne Dark envelops the viewer. Its turbulent and mesmerizing surface swirls and flows like fast moving water....