ABSTRACTED DISTRACTIONS: teetering between here and gone
Kimberly Flynn (born in Cambridge, MA, 1985) began photographing at the age of sixteen when she used her first paycheck from the local movie theater to purchase a 35 mm film camera, a Canon EOS Rebel G. A camera that never left her side the rest of high school to which she was compelled to document everything from nature to the people in her life at the time. As life progressed so did the need to provide a living and take care of others and while photography may have taken a backseat she always found her way back to it. The images that light Kimberly up most are not only the beauty of nature but the ones of people who appear to be looking right through you. Heavily inspired by photographer Nan Goldin, Kimberly’s favorite images to produce are of what is and who is around her living real life, which sometimes mirrors the sadness that engulfs many of us. ABSTRACTED DISTRACTIONS: teetering between here and gone is a collection of those images over the past twenty years
Kimberly Flynn (born in Cambridge, MA, 1985) began photographing at the age of sixteen when she used her first paycheck from the local movie theater to purchase a 35 mm film camera, a Canon EOS Rebel G. A camera that never left her side the rest of high school to which she was compelled to document everything from nature to the people in her life at the time. As life progressed so did the need to provide a living and take care of others and while photography may have taken a backseat she always found her way back to it. The images that light Kimberly up most are not only the beauty of nature but the ones of people who appear to be looking right through you. Heavily inspired by photographer Nan Goldin, Kimberly’s favorite images to produce are of what is and who is around her living real life, which sometimes mirrors the sadness that engulfs many of us.
ABSTRACTED DISTRACTIONS: teetering between here and gone
is a collection of those images over the past twenty years
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Introduction
Maybe art or being an artist isn't what is produced, maybe it's the action, thought and emotion before, during, and after.
While I appreciate the teaching of art, I did at times find the rules of photography to be suffocating and discouraging as a
young artist. I had felt my images weren’t pretty enough for the commercial wedding photography industry and not gritty
enough to be world-changing documentary photography. So, where did I fit in? I’ve had tens of thousands of images from
digital prints to color and black and white prints that I loved that have sat hidden in a box under the bed that have
survived devastating floods to traveling over state lines. I always thought I had to be working on one project for it to be
successful to which I would feel defeated after looking at them too long and not wanting to share or be criticized. As I
look through twenty years of images, I can now see that it isn’t one project, but a series that have common themes. Those
of nature are lonely and still and those of people tend to show emotion with a direct view into their life at that moment
within their eyes. I love that I can look at all these images taken so many years apart and see connections and themes.
Creating this book has been a therapeutic way to process some strong emotions connected to those people within the
images and with the nature images I relive and process the sadness and aloneness that was engulfing me. I wish I could
say that I can look at them and not feel that sadness and depression, but I can’t. I can however let the joy of creating this
project sit side by side with the other feelings. Those emotions are allowed to cohabitate.
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