All posts by Kimberly Reed-Deemer

Kimberly Reed-Deemer

About Kimberly Reed-Deemer

I attended the American Academy of Art in Chicago, transferring to the undergraduate art program at Northern Illinois University. After leaving NIU, I worked in fine art, focusing on charcoal, pen and ink drawings, and watercolor.

In 1993 I traveled to the Yucatan in Mexico which generated a number of ink and watercolor compositions of Maya ruins, and decided to pursue a degree program in anthropology at NIU.  While I earned my degrees I worked in a biology lab, leading to a sideline in scientific illustration.  While I was working on my master's degree in physical anthropology, I was called upon to produce illustrations of fossil human and nonhuman primates for the paleontologists at NIU, including work published in Newsweek, Popular Science, and the New York Times.  My own research in anthropology involved functional anatomy and locomotion in early fossil humans, and a number of illustrations pertained to my work on that issue.  From 1990 until our move to New Mexico in 2004, most of my artistic output consisted of scientific illustration.

   Following our relocation to New Mexico in 2004, I began to work solely in fine art, and my current work has includes pieces in charcoal and pastel, ink, watercolor and gouache, and ranging in subject matter from portraits and figures to landscapes and still life.  Part of that work focused on the religious iconography and structures prevalent in New Mexico.  These drawings are typically done in crow quill pen and India ink, followed by washes of gouache and watercolor.  At that time I also began a series of charcoal and pastel drawings, and gouache and watercolor paintings of New Mexico's Baile Folklorico, Flamenco, and Zuni Pueblo dancers.

In August of 2010 I began working in oil for the first time.  My paintings in this medium include figurative subjects, New Mexico landscapes and still life compositions.  I am currently working on a series of oil paintings involving the technology related to astronomy, such as the radio-telescope structures of The Very Large Array. 




Directing the Pour

The latest in the Iron Tribe series, 36" x 24", oil on canvas.  This is the largest size that I've done in this particular series so far, I'm short so I was kind of reaching to get the upper parts.  I have a 40" x 60" canvas that I've been holding on to for a…


Oil on raw linen, with transparent gesso.  19" x 19"  This is an artist from Taos that I sometimes see set up and working off the main Taos Plaza.  Loved his hat, lots of fun to paint!

Iron Ladies

22" x 28"  oil on canvas.  I really wanted to do another painting of some of the women involved in the art foundry, and I thought the different visor positions were fun.

The Foundry Student

28" x 22"  oil on canvas Most of the foundry artists are guys, but there are a few women and I wanted to paint one of them because I think it's important to depict contemporary women, especially young women, as real people doing interesting things.

Performance Pour

16" x20"  oil on canvas board Yes, what a TERRIBLE photo with glare and fuzzy, but this is the latest of the Iron Tribe paintings.  Being a dark night scene, along with the sheen of the Megilp medium I used, means that photographing this is next to impossible!  I'll have to really work at this…

Iron Sculptor

28" x 22"  oil on canvas Not my official photo, but I just got done with him and I'm pretty excited about how he turned out.  He's a sculptor who does his own foundry work.  The mouth looks redder/oranger than it really is in person, but the rest of it photographed more accurately.


12" x 16"  watercolor/gouache/ink on Fabriano Artistico paper Another of my neighborhood pigeons.  I know they carry disease, but they are really beautiful birds, all the same.  There is a nearly albino one in the neighborhood that needs to be painted…