Limited Editions by Kim Largey
Kim Largey's work is something special: sweeping colour washes and brightly splattered hues, tempered in perfect measure by careful line work and controlled graphite drawings. Beautifully juxtaposing architecture and chaos, Kim offers new insight into the spaces we inhabit. Today we're releasing four pieces from her series titled Mountains and Boundaries. You can check them out here.
Kim offered us some perspective on these pieces and her broader practice, which we'll share with you below.
What is it about your chosen medium that keeps you hooked? How did you come to work in this way?
My medium is driven by my concepts and my space, so I work in a wide spectrum. Having said that, my schooling was largely in printmaking, and I think that informed the way I work. I’m drawn to mixed media on paper, sculpture, and installation.
Can you offer some context for the works we’re releasing in the collection?
These works all stem from the same series that started in 2012 in Tucson. I had been living in Arizona for a number of years, working a day job that I didn’t fit with my ideals, and I was feeling antsy. My practice was stagnating. I felt very stuck, both physically and mentally, and began idly drawing fences. This began my exploration of the intersection of barriers and breaking points. This led to my current investigation of the entanglement of our spaces and how we manipulate and present them.
Give us some insight into your studio/work space. Where does your best work get made?
My current studio is fairly small, 10’ x 12’, and in an old Lutheran church. This is probably the smallest studio I have ever had, and I think the limitation has helped me focus. I have a tendency to get distracted by the smallest of materials or ideas and spiral off on a number of tangents, so I work best with some limitations. Having a space of my own that is singular and relatively quiet is essential for me.