Kim has a super power to look at a subject and pull apart its essential makeup. She can grab a gnarly line from an old river red gum, a note from a sheet of music, a horizon from a stretching desert landscape or a vibration from a group of wattle flowers and build rich compositions from these ingredients. Her practice is informed by a deeply connected sense of the world and the things that surround her. It is for this reason that Kim is always making art in the best places. From Melbourne to New York, to the spiritual desert regions of Dimboola, to the ancient twisting coastal areas of the Mornington Peninsula, to the rugged Warby Ovens National Park of North East Victoria. Kim can tell you more about these places and things than you may have thought possible, so long as you are open.
To see Kims Works properly we must be prepared to imaginatively enter into the space she has opened up… she begins with the boldly decisive act of simplification: “I am going to limit myself and use the elements, the dot and the line - and step into the dance and see how that rhythm is going to look.” What then makes the visual result much more complex is her felt need to consider “allowing the nature and speed of time to create the look of something… The idea of the picture is that it works with the different feelings, movements and intensities of line and dot. There is a vibration that is created through that, but also a visual play where the image slowly reveals itself. It’s not about an image which is a figure, a form or a landscape. The viewer must allow their mind to enter in the space, the environment, and allow the picture to evolve out.”
- David Carrier and Kim Westcott, from Kim Westcott, Roger Taylor, Random House Publishing