Kimber Berry

All Jacked Up on Sugar Pops

2014

Liquid Landscape 628-060708 by Kimber Berry is a mixed media painting on canvas. It is 36x60. This is a vibrant layered, dimensional contemporary painting. It is filled with a watery feel and perfect for beach house decor...

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, Plastic Gardens, Acrylic and Mixed Media on Canvas, 36x24. This is a layered, textured, dimensional contemporary painting. It is filled with white, grey, pink, purple...

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...

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...

'Swing Out Sister!' from multidisciplinary visual artist Kim Frohsin, who created the series, 'Dancers and Athletes', from a variety of media—acrylic ...

BAllet dancer in red featured in 'Double-Ticket Silverscreen' from multidisciplinary visual artist Kim Frohsin, who created the series, 'Dancers and Athletes', from a variety of medi...

Multidisciplinary visual artist Kim Frohsin created the series, 'Dancers and Athletes', from a variety of media—acrylic paint, glazes, ink, collage, pencils, and dry pigment—built up...

Ballet dancers in red with sky blue stripe in 'Toss Up' from multidisciplinary visual artist Kim Frohsin, who created the series, 'Dancers and Athletes', from a variety of media—acry...

Tokyo #9 - Unique, 2015 Hand-embellished archival Pigment print on 300gsm Hahnemuhle paper, hand-coloured with mixed-media, mounted on diabond, resin coated. Spanish/Australian Albe...

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...