Kimberly’s practice investigates black interiority by attempting to distinguish a learned knowing from a spiritually intuitive one. Considering her work as a visual journal, Kimberly’s process is founded on questioning her cultural identity, researching, and documenting her findings through time based media and drawings.

Developed from the creolization that is a core component of black history as a mixture of French, Spanish, British, and African cultures, her work tries to decipher the potential of belonging within these histories as a space that is at once seen and unseen. There is a savagery in the linework of her drawings, an unrelenting distortion of form and time, and a tussle between figures to occupy the foreground and background spaces. The human form is often grotesquely exaggerated, with elongated limbs and elaborate gestures that bend beyond physical possibility. Broken lines hover the figures in the ‘middle-space’, never truly allowing them to exist in either the foreground or the background. They are, at times, lost to the viewer in the negotiation of their space with the subjects that surround them. 

Her works are large scale mixed media drawings on unstretched canvas that investigate black interiority, sexuality, religion, & transgenerational memory. Inspired by the work of Kara Walker & Kerry James Marshall, Kimberly emphasizes that her work is not an attempt to explain blackness as a finite symbol but that it is a linear continuum of her be-ing.