Kimberley Boudville (b. 1999, Kuala Lumpur) is a visual artist who works across a range of mediums, including painting, ceramics, sculptures, installation, and assemblage but she best known for her sculptural installations, including her presentation at the Ilham Art Show 2025, which consisted of nearly 300 individual handmade ceramic pieces. Her works are deeply intimate, drawing from her own experiences and emotions; in particular, her works have explored the complex subjects of grief, death, memory and time, she creates works that often incorporates ‘heirloom curation and intervention’ – refers to the intentional process of preserving, organizing, and interpreting personal or familial items and then creatively reinterpret or transform these objects to connect past narratives with contemporary meanings. She holds a First Class Honours in her Bachelors of Honours in Fine Art Practice in 2021 from Nanyang Academy of Fine Arts (NAFA) in Singapore and a Diploma in Fine Arts at The One Academy in 2018 where she was awarded Best of Fine Arts of 2017 and 2018. She has since exhibited in 3 solo shows; debuting ‘My Journey’ at Artemis Art Kuala Lumpur in 2020, ‘Chrysalis’ at The Backroom KL in 2022 and ‘the root of affection’ under the CULT Gallery residency programme in 2023, and several group shows such as ‘interwoven realities’ at HARTA Space and ‘Beras Basah Wet Rice’ at Lim Hak Tai Gallery, NAFA SG in 2024, ‘The Labyrinths of Touch’ at Maybank Foundation Gallery in 2023, ‘berSEMANGAT’ under the Cendana Visual Arts Production Grant Showcase and ‘Unknown Asia’ at Art Fair Osaka in 2022, ‘The Field Beyond’ at Lim Hak Tai Gallery NAFA SG in 2021. Interwoven Flutter brings together strands of hair in a delicate entanglement, drawing upon the ethereal fragility of pinned butterflies. Once belonging to the body, the hair becomes a material trace; something intimate, shed, and transformed. The work reflects on the quiet pressures of aging and the expectations placed upon the changing female body. Between the desire to preserve what is fleeting and the inevitability of change, the intertwined strands hold the tension of becoming older; of shedding former selves while carrying the weight of who we are expected to become. Like the butterfly suspended within a collection, the work considers the desire to remain delicate, desirable, and unchanged against the natural passage of time. Here, metamorphosis is neither wholly beautiful nor tragic, but an ongoing negotiation between what is lost, what is inherited, and what continues to grow.