Kym Greeley (born 1973) is a Canadian painter based in St. John's, Newfoundland and Labrador, known primarily for her screen-printed paintings of the province's landscape and roads. In 2011, she was longlisted for the Sobey Art Award, one of Canada's most prestigious contemporary art awards.^[1]

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Greeley studied at the Cooper Union School for the Advancement of Art and Science in New York as part of an exchange program, graduating in 1996. She then graduated from the Nova Scotia College of Art and Design in 1997, where she majored in Painting and Drawing.

Greeley pursued a career as a contemporary artist in New York for five years, but found that her interests leaned towards the landscape. She returned to Newfoundland in 2003.^[2]

Her Newfoundland paintings evolved from her studies in abstraction while in New York, and portray contemporary Newfoundland subjects as unromantic, largely monochromatic representations that are abstracted from their original surroundings, textures and colors.^[3] She has described her paintings as "taken from a 'place' and made into a 'non-place'. ... This 'non-place' than becomes a representation of my feelings or experiences."^[4]

Greeley's paintings have since been exhibited in Germany, Canada and the United States. In 2009, Greeley participated in a four month residency at The Rooms in St. John's, Newfoundland and Labrador, which led to a solo exhibition entitled "Time Trial."^[5] In 2013, her work was included in a major survey of painting in Canada titled "The Painting Project," organized by Galerie UQAM.^[6]

After the birth of twins in 2014, Greeley's subject matter shifted to interiors.^[7] This body of work was shown at The Rooms as part of the exhibition "All Day Within the Dreamy House" in 2016.^[8]

Greeley has also worked with Fogo Island Arts as a consultant, and has collaborated with fellow artist Erika Jane Stephens Moore on caribou-themed wallpaper for the Fogo Island Inn.^[9] The wallpaper was included in the exhibition "Folklore and Other Panics" at The Rooms in 2015.

Her work is included in the Canada Council Art Bank, The Rooms Provincial Art Gallery, the Art Gallery of Nova Scotia and the Newfoundland Provincial Art Bank Collection. She is currently represented by Christina Parker Gallery.

• Mireille Eagan, Kym Greeley and the New Newfoundland Painting, Canadian art magazine,^[13] August 2016
• Jennifer McVeigh, Folklore and Other Panics, Border Crossings Magazine, Vol. 34, Number 2. Spring 2015^[14]
• Craig Francis Power, Art World Antidote, Visual Arts News, Spring 2015^[15]
• Lizzy Hill, Folklore and Other Panics at The Rooms Provincial Art Gallery, national Gallery of Canada, Magazine. February 9, 2015^[16]
• Todd O'Brien ^{[permanent dead link]}, Folklore and Other Panics: Where folklore and Contemporary Art Meet, CBC. January 2015
• Canadian Art, Folklore and Other Panics. 15 Shows We Want to See in 2015. December 2014
• Lizzy Hill, Rugged Nonconformity: The Art of Newfoundland and Labrador, National Gallery Magazine, February 2014
• The Painting Project, A Snapshot of Painting in Canada, Galerie De L'UQUAM, p. 64-67
• Bruce Johnson, Art Gallery of Nova Scotia Journal, Summer 2011
• Craig Francis Power, The 25 Greatest Works of Art Ever Made in Newfoundland and Labrador. The Scope, August 2009^[17]
• Gloria Hickey, Visual Arts News, February 10, 2009
• Angela Antle, CBC Radio, Interview, February 4, 2009
• Joan Sullivan, The Telegram, The road less traveled, February 6, 2009
• Mike Landry, Things of Desire, Kym Greeley: Time Trial, February 5, 2009
• Mix Magazine, v.31.1, 2006, p. 36-41
• Riddle Fence A Journal Of Arts and Culture v.2, 2008 pg.91
• Craig Francis Power, Landscape Painter, Current, 2006
• Craig Francis Power, Art In Newfoundland, 100 Paper Moths by Kym Greeley, August 07, 2006
• Craig Francis Power, Art In Newfoundland, Members One at Eastern Edge Gallery, December 7, 2005
• Cliff Eyland, Monitor Goo: Abstract Painting In The Age Of Video. Tea and Sympathy Plug In Cahier, 1998, pg.146-151.
• Jesse Simon, Minimalist shows spawn differing conclusions. Current exhibits at Plug In and Ace Art have much to say about emptiness and the gallery space. 1998