A. Kim Boske

A strange light blooms in places and fades away. Leaves and petals quiver to their own rhythm, like the memory of a field of tall grass trampled underfoot. From the shadows, like fragile slivers of flowers, emerges a bracing sense of confusion. What the image reveals is not taken from reality, but reconstructed from memory. It depicts not so much a meadow but more a state of being, a material vibration captured at the border of the invisible. Is it a field of flowers or an inner vision? It is up to you to choose. This is how the experience of a Kim Boske work begins, not through the representation of a world, but by evoking a mysterious connection between what was perceived and what now vibrates.

The Dutch artist’s work interrogates the nature of reality and the forms that the visible can take when we emancipate ourselves from the linearity of time. Rejecting the notion of a fixed moment, she explores the opposite — becoming, overlaying, indistinct states — offering a vision where timelines are interwoven and perceptions are shifting.

In her ongoing series Untitled (Flowers), this approach takes the form of a visual stroll through a garden. Flowers in shades of ochre, orange, ivory and pale pink weave through a splendid lattice of branches and foliage. The eye struggles to distinguish the contours of one specimen in particular, transforming the scene into a peaceful landscape where all that inhabits the image coexists peacefully and silently.

In the Kanazawa series, the artist builds images born out of fascination for one of the most beautiful gardens in Japan, Kenroku-en.

The works selected for Chaumont-Photo-sur-Loire show meticulous attention to nature’s many metamorphoses. Through this sensory approach, Kim Boske does not stop at merely representing nature — she reactivates its presence. Her works invite us to broaden our gaze and reconsider the very idea of perception, not as instant acquisition, but as a slow, patient, almost meditative relationship.

BIOGRAPHICAL NOTES