My paintings are ambiguously narrative, suggesting specific scenarios and situations featuring women. The state of mind of these fictitious women is revealed in the depiction of their facial expression and bodily gesture. Their bodies are imperfect, awkward, perhaps grotesque, but overtly feminine. There is a link between the way I render my female characters and the need to have them viewed as agents/subjects and not as objects. These female characters are portrayed as individuals who counteract the male gaze.
The current work of Kim Druker Stockwell focuses on the White Mountains of Bethlehem, New Hampshire. Painting en plein air, the paintings are less about rocks and trees as color and light. The patterns created by the different species of plants and trees are reflected on her canvas in a series of playful lines and swipes of pallet knives toying with appearance and reality.
The challenge of painting in the natural world is conveying the ever changing sky and its effect on what lies below. Her aim is not to replicate nature but to impress upon the viewer the unnatural color, shape and shadow we may not be aware of when we view the mountains. Acres of area covered by the shadow of a cloud is painted deep purple, while spring fields shock with yellow green. In fact, these are colors we see, and not imagined.
A walk in the wood shows us nature is multi-layered with mud, rock, trees, animals and the effects of weather (and humans) contributing to and erasing, or partially erasing the layers. Kim’s paintings are built up with paint that is rubbed in, scraped off, and painted over, mimicking nature’s life cycle process. The result is a depth of space and the unique quality of color that will not be found in a tube.