Kimetha Vanderveen, a multi talented, up-and-coming artist who’s work has flourished in the exigent San Francisco art scene, has displayed her inimitable work in countless exhibits around the nation. She is slowly but surely taking San Francisco by storm in the form of miniature monotypes in a calming cerulean and grey colored palate—most recently, at the San Francisco Annual Emerge Show hosted by GenArt, which was named one of the ten best art events nationally last year by the San Francisco Chronicle. The extensive show featured the work of twenty-two hand picked emerging artists from the bay area, including Kimetha.
When viewing Kimetha’s art displayed at the Emerge show, I was instantly captivated by the uncomplicated, abstract style of her work. The pretty washes of grays and blues evoked a sense of calm and tranquility within the busy gallery setting. Her miniature monotypes, which were neatly hung on the white walls of the abandoned apartment building turned gallery, brought forth a multitude of images and visual metaphors—from the nature of a solid tree to the architecture of a bold, modern house. The soothing colors of grays and blues formed the scenic landscape of a tranquil beach at sunset and the metamorphosis of day to night. Her work seemed to subtly contradict itself by appearing uncomplicated and minimal at first glance with its miniature size and abstract gray and white brush strokes. But when searching deeper into the work and truly taking the time to contemplate it, the complexity of its objects and layers of meaning seemed to slowly reveal itself. From one viewing, I instantly wanted to know more about Kimetha and her art.
Just like Kimetha’s monotypes, her calm nature and soft-spoken voice put me instantly at ease. After viewing her monotypes, I was eager to find out from the artist herself what they represented. I also wanted to understand her creative process, and to gain a better comprehension of the daily struggles and triumphs of an up-and-coming female artist in such a challenging and competitive field.
Q: I saw your monotypes in San Francisco at the Emerge show hosted by GenArt. What do your monotypes represent to you?
A: My art has many layers of content embodied in them. I would like the viewer to have a contemplative experience. Certain bodies of my artwork are much more subtle in tones, but that doesn’t mean that there is not complexity. There are relationships in my monotypes that are visual or mechanical—the way objects relate to each other and natural light in the atmosphere. The monotypes consider how all things change over time and how they are objected to the conditions of their natural process. In my series of monotypes, I was contemplating architecture and the atmosphere. The larger question may be how we respond to the things that we see around us. We are affected by the environment around us and sometimes we project our moods, our understandings, and how we find reassurance in things that are familiar to us. Basically, I was focusing on how we find meaning in what’s around, what those things suggest to us, what they remind us of, and if they open doors to our imagination.
Q: What kind of venue do you like exhibiting in best?
A: I think that it really depends on the situation. I think in the past I have had more experience with small galleries and museums. I have shown in more places that were not-for-profits and institutions, but I think both environments can create a good experience for seeing the work. My work is fairly straightforward, but I can see where someone working in another medium, like film or music, may have very particular requirements that they thought about. For me, since my work tends to be more subtle— and often people want to say minimal—it needs to be in an environment that is visually quiet. Not a lot of distraction, a good source of light—those are some of the things I think about.
Q: Where do find inspiration?
A: It is helpful to see the work of other artists, and to know what other people are doing. Working with my peers has been an inspiration to me. I assume it is like being a writer, you hope that you are in a city near a library with wonderful collections. If you are a writer, it’s really helpful to be in a city with a good museums and resources to inspire you. For many artists, it’s usually living in a city with great museums.
Q: So, it is important for you to be in a city with lots of museums. Do you think that San Francisco is a creative city? Is it a good city for an artist?
A: Yes and no. I grew up in a suburb of Washington DC, so in some ways, I think I took for granted the wonderful museums there. I am sure that other cities, like New York, would have a lot of great resources. I would say that you realize after a while that you can’t necessarily compare different places. It’s good to be able to travel and see things, but I think that you learn to make peace with your surroundings. Sometimes it’s a matter of taking the time to see them. Even if you are in a city with hundreds of museums, it’s taking time and making an effort.
Q: Is there an artist that you were particularly inspired by?
A: Too many to count. I think there are always different aspects to finding inspiration in an artist’s work. Sometimes it’s a person’s objects of work that really speak to you and sometimes it’s knowing the context of their work or the biography of their story. That can be really inspiring because you can relate to the challenges they face. For others it’s just their ideas in general.
