Tribute to Luise Kimme’s Art – A Bridge to the Spirit of Tobago

By Marsha Pearce Saturday, April 20th, 2013 Categories: Tributes, Updates

The Caribbean has suffered a huge loss with the recent passing of Luise Kimme. We pay tribute to Kimme and her work by republishing one of the last articles to be written about her before her death. In the following piece, which first appeared in the Sunday Guardian newspaper, Marsha Pearce writes about the significance of Kimme’s art. Pearce also shares the views of artists Kenwyn Crichlow, Bunty O’Connor and Donald ‘Jackie’ Hinkson, who responded to her request to give their perspectives on Kimme’s creative contributions. Luise Kimme held her last exhibition in Trinidad, in March 2013.


Luise Kimme’s exhibition of drawings and bronze sculptures opened at Y Art Gallery in Trinidad on March 11, 2013. The German-born artist has lived in Tobago since 1979 where she began carving whole tree trunks into forms derived from life and mythologies in the Caribbean. Kimme is a prolific sculptor who works in wood and then casts her pieces in bronze. She is also a keen educator. She studied at St Martin’s School of Art in London and has taught sculpture at a number of learning institutions including the Rhode Island School of Design, California State University and the Dusseldorf Academy. Kimme is now poised for the transformation of her home and studio – known as the Kimme Museum – into an art school where small bronze casting, among other skills, will be taught.

Luise Kimme’s exhibition at Y Art Gallery, Trinidad. Photograph by Marsha Pearce.

Luise Kimme’s exhibition at Y Art Gallery, Trinidad. Photograph by Marsha Pearce.

Her latest exhibition is entitled Somewhere Over the Rainbow. It is a name that immediately summons up the familiar tune from The Wizard of Oz. Indeed, Kimme admits that the song came to mind one morning as she made her way down to her studio to work. Yet, if we dig deeper, the exhibition title offers us a meaningful way in which to consider the art Kimme has been making for many years. A rainbow is symbolic of a bridge. Through her sculptures and drawings, Luise Kimme creates a bridge or link across which a spirit of place and people – a spirit of Tobago in particular – can traverse and take on physical, material form. With each sculptural piece and creative rendering on paper, Kimme reaches over the rainbow, and pulls what lies somewhere within us and brings it into a tangible manifestation. What she finds in us and carves into visible being is a powerful, indefatigable beauty.

Kimme has always seen magnificence in the folk traditions of Trinidad and Tobago. She was first drawn to the Caribbean to study Maroon art. Maroons are the runaway slaves and their descendants who created hidden, free communities in which folk customs are practiced and sustained. Over the years, Kimme has maintained her interest in exploring traditional practices and customs. Among her concerns is folk dance. A number of her sculptures feature the human form caught in rhythmic movement.

Luise Kimme’s bronze sculptures. Photographs by Gary Jordan

Luise Kimme’s bronze sculptures. Photographs by Gary Jordan

In speaking about Luise Kimme’s work, artist Kenwyn Crichlow observes: “Kimme’s work reflects a subtle understanding of context as respect for indigenous tradition.” Painter and sculptor Donald ‘Jackie’ Hinkson shares that what he finds remarkable is “her dedication to exploring the folk themes of her adopted Tobago.” He adds: “This cannot be easy for one coming from a different cultural environment because there is always the risk of emphasising the exotic.”

Minotaurus, 19”H and Georgina, 73”H. Photographs by Gary Jordon.

Minotaurus, 19”H and Georgina, 73”H. Photographs by Gary Jordan.

For sculptor Bunty O’Connor, Kimme’s capacity to address folk themes comes from her abandonment of European ways of seeing in favour of her own personal way of viewing and responding to the world around her. “Kimme rejected the European world of postmodern art because she wanted to remain true to her own vision. In Tobago, she found that she could work as the spirit moved her, to create her dancers, gods and goddesses,” says O’Connor. Bunty O’Connor’s words are significant because she suggests that Luise Kimme does not blindly follow the dictates of art styles. Instead, Kimme lets that spirit over the rainbow move her to create. It is a spirit that guides her eyes and hands as she fashions lines and shapes into expressive volumetric forms.

Kimme’s career in art is characterised not only by her attention to folk traditions but also by her intense focus on portraying the human figure in both three-dimensional and two-dimensional terms. Her work constitutes a consistent investigation of the human body and a tremendous outpouring of pieces that demonstrate her awareness of how the body occupies, displaces, interpenetrates and relates to space.

Couple. 34x29 inches. Photograph by Marsha Pearce.

Couple. 34×29 inches. Photograph by Marsha Pearce.

According to Crichlow, Luise Kimme’s work is “largely concerned with explorations of the physical and psychologically complex space that exists between a desire for the presence of a sensual, physical power and a keen observation of the human form.” Her art evokes what Crichlow calls, “the fine craft and majestic presence of those classic bronzes from pre-colonial Benin.”

Hinkson also reflects on Kimme’s dedication and her grasp of the human form. He shares: “Her discipline – her capacity for constant work – no doubt accounts for her complete understanding of the human form in all its complex muscular and bone structures. This knowledge allows her to capture a wide range of gestures even when she must make adjustments to suit the original shape of the wood. Her drawing also reflects this knowledge.”

Kimme’s work is striking. The enormity of her creative efforts is undeniable. “It is easy for me to appreciate her work; far harder to comprehend the hard labour, intelligence, physical strength, skill and determination that have gone into the making. I am encouraged by her unparalleled attitude to life and work,” says O’Connor.

Raj with Figure. 34x28.5 inches. Photograph by Marsha Pearce.

Raj with Figure. 34×28.5 inches. Photograph by Marsha Pearce.

Bunty O’Connor insists that Kimme’s art is “a unique gift to Trinidad and Tobago.” Yet, what Kimme offers us is not only that which has been made with bronze, charcoal and oils. Luise Kimme also offers us her heart and soul. “She sculpts from the heart, portraying a sense of individual and collective identities in Tobago as a story of hope and compassion, that is her spirit,” says Crichlow. As a bridge, Kimme’s art gives us a means to make our way to ourselves. As a rainbow, her artworks connect us with what we can often overlook in our everyday lives – her art links us to our splendid spirit.

To see more of Luise Kimme’s work visit her website: For original post visit the Trinidad Guardian.


Our deepest condolences go out to the family and friends of Luise Kimme.

Marsha Pearce
Marsha Pearce

Marsha Pearce is ARC’s Senior Arts Writer and Editor. She holds a PhD in Cultural Studies from the University of the West Indies (UWI) St Augustine Campus, Trinidad. She lectures in the Department of Creative and Festival Arts at UWI and is also a freelance arts writer for the Trinidad and Tobago Guardian newspaper. Pearce is the 2006 Rhodes Trust Rex Nettleford Cultural Studies Fellow.