When you walk into Kimberly Webber’s Taos gallery, the air carries a quiet strength — part mountain energy, part reverence. Light moves across large canvases where archetypal figures, animals, and symbols take shape in silent conversation. The paintings do not shout. They hum with awareness.
“Nature is my church,” Kimberly says. “It is the most sublime reflection of the Creator.”
To her, the land is sacred and alive. “Every time I go out onto the land, I thank the ancestors of this place for letting me be there. I thank my own ancestors for bringing me here, and I make a prayer for those who will come after.”
Her process merges East and West — a fusion of classical oil painting with ancient rice-paper and calligraphic techniques.
“Each painting begins as a charcoal drawing on handmade rice paper. I layer pigment on both sides to create depth, then fold and unfold it to build texture. The resulting lines become guides for my calligraphic marks.”
Every canvas is built on the golden mean, the same proportion that governs harmony in nature and the human form.
“I create a sacred space before I paint,” she says. “Then I ask to get out of the way so divine energy can flow through.”
Each work is both prayer and portal, carrying an intention of remembrance.
“My prayer is that the image helps the viewer remember their own divinity.”
Through her luminous figures and mythic archetypes, Kimberly’s art translates energy, emotion, and presence into visible form. Her intention is not to impress but to awaken.
“Art is not about me,” she says. “It is about awakening something sacred in others.
An image can touch what speech cannot — inviting reflection or rekindling awe.”
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