In this series of work, Kimzey finds an interest in her experience of time, though not in a grand, scientific manner, but rather in the quiet, often-overlooked moments that mark her daily existence. Dwelling on these episodes for longer inspection, Kimzey considers them from multiple viewpoints, translating them into complex, vibrant abstractions.
In the painting Dog Eared (2018), for instance, Kimzey reflects on her nightly ritual of reading under a blanket, flashlight in hand, to keep from disturbing her sleeping partner. The ongoing repetition of this nightly activity activated an interest in Kimzey to portray this lived experience from not her own point of view, but that of the blanket itself. The bright glare of a flashlight and the constant folding and movement of the blanket throughout the night are recorded in this geometric composition, proposing that our daily interaction with otherwise insignificant objects can become a method of archiving our existence.
Throughout the series there remains a tension between order and disorder, chaos and balance. Carefully executed structures are painted only to be broken apart and then built in a new way. Through this process, Kimzey is allowed to produce paintings that become heirlooms of the spaces and objects around her. These commemorative objects, however, do not set out to render these subjects in photographic detail, but rather seek to depict the elusive, immaterial experiences that they generate.
My paintings explore the role of patterns and how they can orient us in a space, give hindsight to an experience or recall a memory. I build and reconfigure mundane structures or patterns and break them open until chaos and order intersect, accidents reveal possibilities of color, line and space, and a greater significance unfolds. My process appropriates the logic of puzzles and Legos, working within certain limits to create, expand, or uncover the unknown. Within these limits each decision creates a path towards a truth that had not yet been realized, and builds a bridge to new discoveries. Thus, painting becomes an act of making time stand still so that I can climb into it, see around it, dive under it, and paint my way out.
Danielle Kimzey is an artist who lives and works in Dallas, Texas. She received an MFA in Painting from the University of Iowa and a BFA in Drawing from Southern Methodist University. Danielle has participated in multiple shows in the Midwest, Southern California, New York, and Dallas. In 2012 she was invited to be the Box Artist- in-Residence at Knox College in Galesburg, IL where she had a solo show at the Box Gallery. Her work has been included in group shows curated by Susan Chrysler White at the Peter Paul Luce Gallery and by Mary Laube at the Times Club in Iowa City, IA. Most recently she has shown her work at Peripheral Vision Arts, the Hawn Gallery at SMU, and Galleri Urbane Marfa + Dallas. She currently teaches art at TCU and El Centro College.