I prowled the galleries and nooks and crannies of the multi-story whitewashed mansion that served as her house, atelier and museum, admiring the multitude of her creations. The life-size or larger pieces carved from masses oak, cedar, mahogany and other trees -- in her 70s, she was still able to heft a chain saw -- embody so much of energy that if you stare long enough at any of 'em, you might believe they could actually become animated.
Kimme took inspiration from Tobagonian culture as well as that of Cuba -- a country she frequently visited -- and Africa, portraying Cuban musicians, Harlem Renaissance dancers as well as pieces reflecting native African religious (Orisha) art. Working in a multitude of media, including charcoal, oils, watercolors, and even embroidery, she was particularly inspired by folk themes as well as mythology.
The house is itself a work of art with cobalt blue bird sculptures perched on the roof, a mermaid lounging beside the pool, murals on the front facade, and fretwork all about. Curiously, I spent an hour on the property and didn't run into another visitor until I was about to leave. And I was told that locals rarely, if ever, visit the museum.