In a departure from 30 years of black and white film photography, in 2002 Zimmerman began photographing natural surfaces and reflections in color using mid-format digital cameras. These images were Zimmerman’s first color photographs and represent the artist’s initial foray into the application of new computer technologies.
While firmly entrenched in the digital age, and the use of color, the new photographs are directly related to the photographs taken by the artist in the early seventies, where black and white images were serialized and hung next to one another, often to mark the passage of time, or to depict particular spatial concerns.
In the work from 2002 each photograph is composed of a grid of like images, taken during a set period of time and printed seamlessly as one large photograph:
“Zimmerman uses the grid to convey the experience of being at the site, the multiple images seeming to represent the shifting of the eye [or of the mind] as it absorbs the changing reflections and patterns of the moving water. At the same time, the grid format asserts the work’s identification as a mental construct….Some [of the works] are graphic in effect, others ‘painterly’, while still others suggest sculptural relief. The new photographs range in mood from lyrical to dramatic, meditative to passionate and playful to austere.” —Roni Feinstein/ exhibition catalogue 2003
In the current exhibition, Zimmerman continues to work with the grid, and the artist has turned her lens towards the landscape, with imagery from her travels in the Galapagos, the Baltic and Mexico.
Zimmerman’s photographs have been shown at the Whitney Biennial, the Sydney Biennial and the Los Angeles County Museum of Art and are included in the collections of the Museum of Modern Art, NY, The Whitney Museum of American Art, NY and the Los Angeles County Museum as well as numerous private collections.