Photograph of Artist KIM WINTJE
Farmington, New Hampshire - United States

Original Artworks (4)

Kim Wintje; Bush Dog Ringleader, 2004, Original Sculpture Aluminum, 40 x 15 inches. Artwork description: 241
Kim Wintje
Original Aluminum Sculpture, 2004
40 x 15 inches (101.6 x 38.1 cm)
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Kim Wintje; The Day We Saw The Edge O..., 2002, Original Sculpture Aluminum, 8 x 22 inches. Artwork description: 241 wall mounted sewn metal sculpture...
Kim Wintje
Original Aluminum Sculpture, 2002
8 x 22 inches (20.3 x 55.9 cm)
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Kim Wintje; Shrouds Of Jesus, 2001, Original Sculpture Aluminum, 12 x 30 inches. Artwork description: 241 My medium,
Kim Wintje
Original Aluminum Sculpture, 2001
12 x 30 inches (30.5 x 76.2 cm)
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Kim Wintje; Political Sculpture, 2001, Original Sculpture Aluminum,   inches. Artwork description: 241 group of political sculptures created from 1999- 2001...
Kim Wintje
Original Aluminum Sculpture, 2001
inches (0.0 x 0.0 cm)
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Artist Statement

For the past 20 years, I have been making sculpture. Incorporating many fabric techniques, I use recycled metal, wire, and paint, to create sewn metal sculptures about pollution, habitat loss, complacency, human rights, extinction, and many other environmental and political issues. My work has been part of collaborative shows, and one person exhibitions. I want my work to get into peoples psyches and keep them thinking about the images for days, weeks.... I feel that whenever people think and ultimately talk about ideas the world changes. I maintain a cyber gallery of my sculpture thanks to a NH State Council on the Arts, Individual Artist Fellowship received in 1998. I also take time every year to work as, artist in residence, in New Hampshire's schools.

In 1993, an accepted collaborative
proposal submitted to Inez McDermott,
then director of New England College
Gallery, Henniker, NH, resulted in a
significant change in my direction as
an artist and the materials I use. The
proposal gave me an opportunity to
collaborate with another artist, to
explore new materials, and to exhibit
the year's work at the gallery. The
years exploration focused on the
tradition of ritual art forms that had
relevance to my work as a visual artist.
I was drawn to these forms because of
the different orientation that they have
from most western art, and that they are
often incorporated into rituals that are
used to "reawaken," to remind us of an
invisible, yet universal, pathway
uniting and connecting all people with
the earth and all its life forms. It was
during this collaboration that I began
experimenting with metal. Prior to this
my sculpture had been constructed of
fiber. Over the next few years my ideas
evolved to incorporate mostly metal.

I live and work in a small house in NH.
It was once a one room school house. The
space is heated by a wood stove and
there are big windows that allow the sun
to stream through filling it with light.
My ideas come from listening and
watching what is happening on this
planet, and then making art that can
make change. I have made sculpture about
the environment. Lost Habitat
Installation consists of five sculptures;
Home Shelving for Lost Habitats,
Falling Tree Taking Out a Specie a Day,
Over Population and the Old Growth Tree
of Life, Diversity Fill Tool, and
Environmental Wreckage piece number 236.
The White House affair got me started
on my recent political sculpture.

My new work is about interaction. The
idea for this series, came when I was
among a few artists commissioned to
create two sculptures for Concord, NH's
first night celebration. I made two orbs.
One had images of men throughout history,
the other women. This gave me the idea
to pair off people in a conversation.
By placing unlikely characters together
in an environment, I invite the audience
to participate by creating a
conversation. I want my work to get into
peoples psyches and keep them thinking
about the images for days, weeks....
I feel that whenever people think and
ultimately talk about ideas the world

I use the human figure, reduced to
doll-like proportions, to help the
viewer relate with relative ease to
larger-than-life characters like Van
Gogh and Joan of Arc. My medium, "sewn
metal," assembles, scraps, and squares
of metal punched with holes and stitched
with twists of wire. Each sculpture
approximates a simple body or a
miniature robot, with utensil limbs and
a box-shaped frame for a head. They are
like an all-purpose, fill-in-the-blank
voodoo doll, the frame becomes a face
when I inserts a small, photocopied
picture of my chosen candidate.

My army of tin ears, in a battle to
change the world, includes parodies that
pair up Gore and Bush in a single
sculpture, titled "Self Inflicted
Wounds." The metal figure crosses its
arms out front in self-protection, and
attached metal labels are printed with
the politicians' avoidable errors. "I
Did Bad on Reporter's Pop Quiz," reads
one, referencing an early Bush gaffe."I
Invented the Internet," another label
says, recalling Gore's self-important

Some of my match-ups are funny and
unexpected, suggesting links between
the most unlikely couples. "Joan and
Satan Discuss Hot Seat" is one such work.
The idea of a discussion (such a civil
interaction!) between the devil and the
martyr pushes hard at the limits of our
imagining. "The Cutting Edge with Bobbitt
and Van Gogh" disregards boundaries of
time and place to partner Lorena and
Vincent, two quirky characters with a
shared penchant for chopping off
appendages. The title poking fun at the
vernacular of the American media.

My recent combinations are more
introspective, asking the viewer to
imagine, "The Edge of the Earth
Embracing the Other Side" or "Seeds of
Change Taking Root in The Soul of Life".
However, it is the interaction in, "The
Wings of Flight Strap onto Forever Young"
between the wings and forever young that
remain the focus in my life and my

Thank you for spending time with me.
Please visit my self made website if
you would like ...

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