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About the work:

While Hendrik Zimmer‘s works in his previous series - Morgen und Felder - highlight the painterly aspect of his works and experiment with various techniques, his latest series focuses on woodcuts. Still, the artist‘s perspective remains discernible in the foreground.
To this day, Hendrik Zimmer works with found materials such as photographs, newspapers, or posters, which became part of the picture, layered, deformed, torn, and reworked with paint. The resulting structures are held together with gestural-expressive surfaces, which are often printed using woodcuts, whereby the works were divided into individual image fields, but at the same time also brought together to form an overall composition.
The individual “fields“ open up the most diverse pictorial worlds, which exist independently of each other, but communicate with each other and - for a moment - form a whole. In doing so, these works tell of the simultaneity of the images and their flow. A moment that also connects the Frankfurt artist with works by Max Beckmann. In pictures such as “Rugby Players“ from 1929, Beckmann contours tangled, interwoven, overlapping forms with deliberately drawn lines. This is an artistic strategy that Zimmer also uses to capture movement. Like Beckmann, Zimmer freezes a moment in which change and the ever-new are already inscribed.
In his most recent series, lines again play a central role, and he is similarly concerned with the play between two- and three-dimensionality. This time he experiments with a wide variety of fabrics, from the finest to the roughest of linens, with different coatings and types of paper. This allows him to create paintings with varying structures, densities, and intensities of color, tied together with the characteristic play of his paintings, oscillating between two- and three-dimensionality, between picture surface and picture depth.
Hendrik Zimmer studied at the Städelschule in Frankfurt am Main and was a master student of Tobias Rehberger. He lives and works in Frankfurt am Main.