Kimberly James: "On a deeper level, there are themes of trust and intuition"

 

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Freedom. Trust. Intuition.

Kimberly James's art pieces are, by design, an immersive experience. Using lines, shapes, colors and experimental techniques playing with light and space, James shapes hypnotic portals to other dimensions, inviting viewers to explore hidden pathways to an uncharted innerworld. A junior student at Moneague College, she already demonstrates a method and point of view that are the hallmarks of a refined sense of style. Born and grown in the Caribbean on the island of Jamaica, the rich architecture of her pieces builds a unique lens using the commonly overlooked moments and textures of everyday life.

When did you first start creating art?

Kimberly James: I started creating art when I was 16 years old. I was in grade 10 in high school. At the time it was just doodling different shapes at the back of notebooks, nothing more, just squares, circles and triangles. Over time I started adding patterns inside the shapes that I drew which I found to be surprisingly beautiful. I had always used doodling to keep me grounded in classes or nervous situations, you could always find me at the back of my book drawing a shape. The turning point happened at home while I was sitting down, and I had a small piece of paper and a pencil next to me and I just thought “You know what I’m just gonna put the pencil on the paper, and move the pencil in whatever direction my mind takes me” and it created what I like to call a ‘blob’ and I drew some wavy lines outside of it and added some details inside of it and I thought “Well this looks nice”. From there I started experimenting with different types of lines, shapes, shading techniques until I found my style.

Was there anything that drew you to art before that moment?

KJ: Before finding my style I actually thought I didn’t have an artistic side. In grade 9 I had to take a mandatory Visual arts class. The class never focused on abstract art, but traditional portraits and still-life-objects, which I was absolutely horrible at drawing. I must’ve sketched a billion faces and objects but nothing ever clicked and it looked completely different from what I do now. It wasn’t until I moved away from the rules of that class and found myself at the back of my book doodling as a coping mechanism that I finally felt drawn to art.

"Structured Chaos"

Tell us a little about your creative process. You create such stunning visual scapes, the viewer feels almost hypnotically drawn into. Do you start with an outline or sense of direction? Or is the process more intuitive?

KJ: The process is definitely intuitive, there is never an outline and I never know where I want it to go, but when I get there it is amazing. What happens is that I can envision one small detail, whether it be a shape or pattern and I know that I want it on paper but I never know what’s going to surround it, I just let the pen or pencil guide my hand and I build from there. It then becomes a chain reaction where one shape or line inspires the next and I just follow the rhythm of the drawing until a beautiful landscape of patterns emerges. Trust me it’s as much a surprise to me as it is the viewer!

How would you describe your style, and what are your favorite mediums to create with?

KJ: I would describe my style as intricate, free-flowing, abstract art that is heavily roped in geometric patterns and very detailed linework. It’s a style born out of pure intuition and not conforming to the usual shapes or lines. I let my mind guide the pen or pencil in whatever direction it wants to go, creating swirly, flowy, and criss-cross patterns.I’ve had to learn that not everything has to look perfect, there are many mistakes in my art, many unintended lines or spots, but in the end they all contribute to what makes my work stand out. Whether it’s a detailed monochromatic piece or a vibrant color gradient every design is about exploring how different lines, textures and shapes come together to create something captivating. 
My absolute favorite medium is fine point gel inked pens and pencils on paper. There’s something very grounding about the feeling of the pen or pencil cutting across a page where a single line or dot could change the direction of a piece. In the past, I’ve explored using crayons, but I found it much harder to get those smaller details into my art. I actually tried combining pencil and crayon art once and it was... 'something.' Knowing more now than I did then though, I would definitely try it again.

"Clash of Structures"

What are your influences?

KJ: My inspiration genuinely comes from absolutely anything and everything around me. I could look at a simple plastic bottle and think, 'I like that shape, that would be a great element to incorporate into a piece.' I find ideas in the everyday details people usually overlook, like the patterns and designs on someone's clothes, or the natural lines we humans have in the middle of our hands. It can even come from things I see in cartoons, like the wavy seaweed in SpongeBob. Literally anything can spark an idea, and I love taking those random, everyday visual moments and translating them into my work.

Tell us about your latest work. What was your inspiration?

KJ: My latest piece “Colored Confusion” was directly inspired by my mood. My usual pieces are monochromatic, strictly black and white  but I decided to venture into using a variety of colors for this piece. Lately, I feel like life has been kinder to me, or rather I've begun to focus on the good instead of the bad and really count my blessings. I thought about the people who bring me out of my black and white moods and bring vibrant color to my life. Visually the central ‘blob’ was inspired by the shape of an octopus’s head. From there everything comes together to create a rich mosaic of patterns, shapes and colors.

"Colored Confusion"

What themes do you see keep coming up in your art?

KJ: I see a constant theme of freedom versus structure. Visually, my work balances structured geometric shapes, with lines and patterns that are completely free form, and fluid, like taking a random “blob” and anchoring it with beautiful rich patterns and detailed line work. On a deeper level, there are themes of trust and intuition. Because I never use an outline, every piece is an exercise of letting go of control, putting the pen to the paper and trusting where my mind takes it. I like to think of it as a partnership where the pen or pencil is the true conductor, and I’m just there to guide it across the page and bring its vision to life.

What's been your biggest challenge as an emerging artist?

KJ: My biggest challenge as an emerging artist is honestly knowing when to stop and learning to trust myself through the ‘ugly phase’ of a drawing. Because I never start a drawing with an outline, there always comes a point in the middle of a piece where it just looks like a chaotic mess of random lines and shapes. It is so easy to panic, or overthink in moments like those and I feel like I have lost what could have been great pieces to this very challenge. I have to actively fight the urge to keep cramming details into every single corner of the page because I'm trying to ‘fix it’. Learning that my work needs negative space to breathe, and pushing past the self-doubt until the patterns and shapes finally begin to click is definitely the hardest part of the job for me.

Is there one piece you’re especially proud of? Why?

KJ: I’m definitely most proud of Loops of Chaos. There is a lot going on in that piece, many types of lines, ‘blobs’, and intersections. I went all in on the heavy shading and those winding, looping ribbons to make the whole thing feel like it's moving. I'm especially proud of what I drew to be a cube in the top left of the piece. I added some fun little shapes to it, and where I didn't add shapes, I shaded it so it actually looked 3D. Honestly, this one is a favorite because of the many different shading techniques I used. It also serves as a reminder to me that not every single space on the page has to be crammed full for it to be beautiful.

"Loops of Chaos"