Kim's "Gouache Women" paintings are ambiguously narrative, suggesting specific scenarios and situations featuring women. The state of mind of these fictitious characters 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 she renders her female characters and the need to have them viewed as agents/subjects and not as objects.
The White Mountains of New Hampshire are a frequent subject for Kim. Painting en plein air, the work is less about rocks and trees as color and light. The patterns created by the natural, rugged beauty are reflected on her canvases in a series of graceful brush strokes and scrapes of pallet knives toying with appearance and reality.
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 complexity of space and the unique quality of color that will not be found in a tube.
Her most recent series of place, the Boston series begins with a walk in the snow with her father during COVID. Last February, 2021, the city had a delightful snow fall. Thanks to the elegant lighting of both the Public Garden and the Commonwealth Avenue Mall, Kim and her Dad took several magical photos. It is from those that she paints this series. Kim strives to capture the fairytale glow of the yellow lights and the purple snow, the lack of people in a city and the quiet of freshly fallen snow.
Cold wax, "oops" house paint from her local hardware store, gesso, and oil paint are brought together to create Kim's abstract series. Sometimes with a particular place in mind, and sometimes with a pattern she needs to explore, the focus is always on color and texture.
If asked why she paints Kim might talk about her sensory experience as it relates to a particular area: the mountains, the sea, a city. But, the real reason behind her work is color. She continually experiments with her pallet. Two colors can create a vibration in the mind that is not only visual but tactile. It is a driving force behind all of her painting, and particularly her abstracts.