Kimber Berry, ‘Pixie Dust and other Magic’, 2012, Elisa Contemporary

Kimber 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."

She 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 and Atlanta. She has been part of recent exhibits at the Riverside Museum and the Huntington Beach Art Center in California. Kimber was recently featured in the magazines Hamptons Cottages & Gardens, Ocean Homeand Flaunt. In 2013, she created an installation at Terminal 3 at LAX. Kimber is also part of the Artists Pension Trust.

About Kimber Berry

Kimber Berry’s vibrant installations and mixed-media works on canvas grapple with living in an over-stimulated, social media obsessed, and visually saturated society. Raised amidst “over the top advertising and the glitz of Hollywood” in her native Los Angeles, Berry is conscious of the increasingly blurred lines between reality and illusion, and her work exists in the liminal space between the two. She creates “Liquid Landscapes” by photographing paint, digitizing and manipulating the images, and then embedding them onto a surface shared with actual paint. Her installations likewise form immersive, kaleidoscopic environments, oozing off the canvas onto surrounding walls and floor. They suggest a synthetically hued underwater-scape of coral reefs. “The fluidity of paint and the brush stroke act as narrative tools to recreate the psychological compression of stimuli found in our society,” she describes.

American, b. 1970, Los Angeles, CA, United States, based in Southern California, CA, United States