Cami Smith
| Artist Feature

Kim Breit’s path as an artist is one that many creatives will recognize: moments of discouragement followed by steady, determined forward motion. Her story is an inspiring reminder that believing in your work—and continuing to show up—can lead to unexpected and deeply affirming opportunities.

Kim Breit working in her studio.

Working with recycled paper and cardboard, Breit creates layered, three-dimensional sculptures that sit comfortably within the expanding field of fiber-based and material-driven art. Her practice is rooted in environmental awareness and a deep respect for materials. Long concerned by the lack of meaningful response to global warming, Breit found that these ideas naturally threaded their way into her work. As she began noticing more artists using paper in inventive ways, she started experimenting with two-dimensional collage before gradually moving into sculptural forms. Today, her work incorporates recycled books, cardboard, catalogs, and honeycomb packing materials—repurposed through copying and reprinting imagery so that nothing is destroyed in the process.

In the Reeds; 2025; 8 x 10 x 2 in; paper, recycled cardboard, mat board, glue, scissors, craft knife, shadow box for display; images are reproduced onto paper, hand cut, arranged onto cardboard, then mounted on mat board.

A defining moment in her journey came when she was told by someone she trusted that a particular exhibition was only for “real artists.” The comment was painful, but it also became unexpectedly liberating. Rather than allowing that judgment to derail her practice, Breit chose to continue working in her studio daily, free from fear. She began applying to exhibitions independently, embracing experimentation and growth. Her motto—“Throw it out there and see what sticks”—reflects an openness to process that many fiber artists will recognize. With time, her work evolved, and acceptance into juried shows followed.

That persistence has led to significant recognition. Breit will be showing her work at both American Craft Made in Baltimore and the Smithsonian Craft Show, milestones she describes as both thrilling and humbling. Being juried into these nationally recognized events affirmed the originality and quality of her work, reinforcing a growing confidence in her voice as an artist.

Her recent inclusion in Glue, an Uppercase publication, offered another moment of validation. Encouraged by a friend to apply, Breit found the rigorous application process itself clarifying. Being selected helped quiet feelings of imposter syndrome and gave her confidence to pursue higher-profile opportunities. The publication also brought new visibility, including inquiries from collectors encountering her work for the first time.

Breit describes each sculpture as “a walk in the woods.” Her use of recycled materials balances urgency with hope, offering a quiet form of activism that invites reflection rather than confrontation. For artists navigating their own paths, she emphasizes experimentation, curiosity, and resilience. She encourages learning from constructive criticism while letting go of voices that do not serve growth.

Monkey Cups; 2024; 11 x 13 x 3 in; paper, recycled cardboard, mat board, glue, scissors, craft knife, shadow box for display; images are reproduced onto paper, hand cut, arranged onto cardboard, then mounted on mat board.

Kim Breit’s journey offers a powerful reminder: steady commitment to process, materials, and purpose can open doors—and sustain a creative life.

kimbreitart.com ׀ @kimbreiart

Dragonflies; 2025; 11 x 13 x 3 in.

Coral Colony; 2025; 11 x 13 x 3 in.

Bird’s Nest Soup; 2024; 16 x 20 x 4 in.

May Apples; 2024; 16 x 20 x 4 in.

Photo credit for all images: Christopher Sprowls Photography

Cami Smith is the Fiber Art Now media manager, community engagement coordinator, and a mixed-media artist.