In the house by Kimbra Audrey
Edition: Original print, 10 copies.
Authentication: Numbered certificate signed by the artist, invoice.
Technique: Museum quality fine art print.
Colour: UltraChrome K3 pigment inks.
Media: Hahnemühle, FineArt Baryta 300g paper.
Print: Photo with white surround.
Framing: Mounted on Dibond® with recessed frame, Floater frame.
€ 448.39 – € 984.54 inc. VAT
Method of payment: Secure card payment via our partner Stripe, Paypal, bank transfer.
Lead time prior to shipping: 7 days for a print, 15 days for a framed print.
Delivery: To your home address or a collection point. Almost anywhere worldwide.
Delivery fee: Free, small charge for certain destinations.
Durability: Colour stability, indoor UV resistance thanks to mineral pigment inks encapsulated in resin projected on a 100% Alpha cellulose backing.
Lifespan: 75 years without deterioration with normal indoor exposure. Results of tests carried out in independent laboratories.
Maintenance: Stable ambient surroundings recommended for the work. Avoid variations in temperature and humidity. Avoid direct sunlight.
Recommended humidity level: 35 to 65%.
Recommended temperature: 10 to 30°C.
Standards and certification: Acid and lignin-free. Standard ISO 9706 long life.
About the artist
Kimbra Audrey is an American artist living and working in Paris. After working as a model for nearly a decade, Kimbra was frustrated with the superficial images constantly created of her, and working in an industry that was not at all in alignment with her values. She has struggled with depression her entire life and began taking self-portraits as a cathartic way to create images of how she actually saw herself. Kimbra shoots exclusively on film, which she develops and prints herself at home. She does not retouch her images and finds beauty in the natural imperfections that occur from shooting film. Kimbra has been vegan for almost a decade and prides herself on living a sustainable, ethical and eco-friendly life. She works only with sustainable brands. Her work has been featured in Vogue Italia, i-D and W Magazine.
More about Kimbra Audrey
How did you choose your means of expression?
I worked as a model for nearly a decade and was frustrated with the superficial images constantly created of me. I began taking self-portraits during that time as a way to create images of how I actually saw myself. I wanted to create authentic, honest, raw images, and shooting on film and not retouching my photos was the best way for me to do that.
Is this medium secondary to or closely linked to your subject?
I am my subject, so yes we are very closely linked. All of my images are a facet of my being.
What material do you use and why?
I shot exclusively on film which I develop and print myself at home. What I like most about film over digital is that it is something physical and tangible. I physically touch, and process my film. For me self-portraits aren’t just simply taking the photograph but it’s the whole process before and after that creates the image.
How does a work session take shape?
Very organically and with my emotions. Whatever I am feeling I document, whether that’s sadness, anger, frustration or joy. I never judge what I may be feeling. I try to be as fully present as possible when I’m shooting.
Can you explain to me how your work has evolved since starting out?
When I first started my self-portraits were completely private, I didn’t share them with anyone. It took a long time before I shared them with close friends. I don’t make self-portraits for anyone other than myself, I just happen to share them more now.
Do your origins and culture play a role in the works that you produce?
I think it would be naive to say that they don’t. My origins and history are a part of my being and connected to everything I do and create.
Which events have influenced you most?
My greatest disappointments.
What are your sources of inspiration?
Myself, my emotions and my experiences. My work is self-portraiture which is completely selfish. I don’t let anyone else influence my work, otherwise it wouldn’t be authentic.
ON A MORE
Do you wish to make viewers wonder or do you prefer to question them?
To be honest I don’t think about my viewers much at all. My work is not for them. If someone happens to feel something from looking at my work that is just a bonus, but it’s not my intent or purpose.
How do you view human beings, and consequently your work?
I love all beings and love all of my work.
Is art poetry or social intervention?
I think it can be both and also neither.
How do you view your own work?
I am my own harshest critic. My work is very personal and very private. The majority of my work I still keep to myself. I have to sit with my work for a long time to fully understand and appreciate it. I constantly go back through old rolls I’ve shot and find new images and new meaning.
What are your current and future projects?
I am slowly working on a book, but as time goes on it keeps evolving.
Do you have anything else to add? I’ll let you have the last word…
Love everyone and tell the truth!