Kim McAninch - B.F.A., Surface Pattern Design, Miami University, Oxford, Ohio – Kim, a member of the National Association of Women Artists and Women's Caucus for Art, currently works in Longboat Key FL and Stony Point NY. Her background as a fabric, wallpaper and interior designer has laid the groundwork for her unique painterly style. Through the expressive use of brush and palette knife, she conveys an emotion, a mood and the pure joy of color. Her work offers elusive and intangible qualities to the viewer, who in turn add personal experience, giving life to her work. Her artwork is in select galleries and is collected worldwide.
Molly Lindberg, 530 Burns Gallery, Sarasota FL
Kim McAninch’s work on paper is a symphony of mediums: oil, oil pastel, ink, charcoal, acrylic and pencil on paper. Each piece contains that inexplicable magic that immediately catches your eye and keeps you looking for what feels like a lifetime. Though her work is abstract by nature, she never forgets to add a hint of a horizon line, which reminds the viewer of landscapes that only arise in their imagination.
WHERE THE LEMON TREES BLOOM
Goethe's novel, WILHEM MEISTER"S APPRENTICESHIP opens with one of the most famous lines in German poetry, an allusion to Italy: "Kennst du das Land, wo die Zitronen bluehn? (Do You Know the Land Where the Lemon Trees Bloom?) The words inspired many including Johann Strauss II in the lovely waltz, WHERE THE LEMON TREES BLOOM, Waltz, Op. 364, written in 1874. Colorful and lyrical the line is a yearning and evocation of the warm south. Kim McAninch is conducting a joyful and lyrical visual presentation, an expression of music and form. The inclusion of musical inspiration is part of her process, and the process is the medley of an artist. Inspired by Goethe, the artist is using her voice, striving for harmony of color and rhythm in each composition.
HEAD & HEART
Exhilarated by the visual dance between the figurative and abstract, the artist strives to offer more information with less detail. Each is a journey unto its own. for both the artist and the viewer. Kim McAninch is using her unique voice, striving for harmony of color and rhythm in each composition, offered from her head & heart.
Kim McAninch offers a series of abstract female figures painted in her own gestural technique. Using ink, acrylic, pastel, oil and pencil she conveys emotion, energy and quiet beauty.
The eye makes a way to the water through the dunes and sea grass. The DUNES Series fills a space with color and breezy beach mood. Each is an exploration of gestural abstraction and are created with a palette knife and brushes.
Kim McAninch's work involves disruption as an evolutionary process. She finds ways to incorporate painterly marks which temporarily interrupt the path of the eye, giving hints of perceived information. These DISRUPTORS ultimately create energy and depth.
The BOATS Series is the artist's longest body of work. All are created with palette knife and brushes for varied texture and direction, featuring reflections and movement in each. The subject of the boat has been merely the artist's means of showing her unique strokes and mark-making techniques-certainly a virtuous expression.
Light and fresh, the FLORAL Series showcases the artist's inventive use of color and her trademark gestural technique. She limits her palette to create unique pieces in this body of body of work which compliments a wide variety of decorating styles.
WAIT AND SEE
As is common among the series of Kim McAninch, WAIT AND SEE is gestural and abstract, flirting with the landscape and distancing the inherent horizons in her work. She is addressing the uncertain and the temporary. These large scale works focus on color, each offering tones not explored in her earlier work.
The artist is limiting herself in palette and wet and dry media in the new 2021 Series, LIMITS. Using ink, acrylic and charcoal, the gestural artwork reflects a minimal and abstract refined decor.
They may be combined to fill a larger space, each speaking to each other, mimicking lines and energy.