The Paths We Take

The paths we take make all the difference in what kind of work we do, how we live our lives, and to some degree everything around us. Both To Be or Not To Be? Forest, and (e)Xtrasensory Spirit Guide, offer up different paths we might take.

In Forest (above), humanity is asked to choose which path we want to pursue. A path that excludes nature or a path that includes nature into the human-built world. Which path do you choose?

In Spirit Gude (below), a dog spirit guides humanity along life’s journey to enlightenment. Will you follow?

When the opportunity to be apart of National Association of Women Artists’ national juried exhibition, The Paths We Take arose, we were thrilled and honored to apply. The fact that both of Kathleen Zimmerman's serigraphs, To Be or Not To Be” Forest and (e)Xtrasensory Spirit Guide were choosen demonstrates that both works of art succeeded aesthetically, and emotionally.

To see all the work included in this exhibition click on the postcard image above.

To adopt either Forest or Spirit Guide, contact NAWA in NYC.

Zimmerman Fine Art Studio

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Drawings!

All my drawings, and printwork, start with a blank sheet of drawing paper, a nice graphite pencil, and an idea.

I then decide the approximate size, and what animal, or other elements, I want to use to help me explore my idea. Once that is figured out, I lay out the basic composition. I do this thoughtfully, so that each line has meaning. When I am satisfied with the layout, I add shading to establish the tonal range. There are a few exceptions where the line drawing seems to say all I wanted to say so I leave them in that state. A couple examples of this can be seen below in Whose Nose/Who Knows - Rabbit, and Horse, as well as in Kindred - Fresh, and Salt.

That being said, if I find shading helps add meaning I continue. As I draw, abstract shapes evolve as I think about my subject matter. These abstract shapes begin to play off one another leading to further abstraction, layers of meaning, and a more balanced overall feel to the entire composition.  I step back numerous times during this phrase of the drawing so that I will know when the drawing has everything it needs, but does not become overworked. I also tend to clean up the white areas, refine the shading, and finalize the dimensions. At this point, if I have succeeded, the drawing has come to life. It is now a complete visual statement fusing together my subject matter and my idea. 

Below is a link to my recent video titled Evolution of a Drawing on You Tube. In it I shared the creation of Midday Star (the panda above). It can also be seen, along with all my other videos, by going to the videos page on this website.

https://youtu.be/Rh6BT9GOr7E

Some drawings, including the one above, are then transformed into hand-made serigraphs. Both the drawings and the serigraphs are original works of art and have a different look and feel. In creating the serigraph, color placement and capturing the tones of my drawing are very important. Since my work is celebrating the drawn image, the touches, or blocks, of color are limited, and rich black ink is used to add contrast when I am designing my serigraphs. An example can be seen below in MidLife Anchored, and Adrift.

I wrote this post because I have just begun to make a limited number of my drawings available to patrons. Contact me at kathleen.zimmerman@me.com if you want to know the availability and current value of any of my artwork, or to schedule an exhibition.

Kathleen Zimmerman

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Intaglio/chine colle' prints

I love creating serigraphs, but I also enjoy creating intaglio prints. Serigraphs are made by developing an image onto a screen, or series of screens, while the Intaglio prints I make are made by etching an image onto a metal plate, or plates. Each printmaking method produces a very different look, and feel, which can be seen by going to the hand-made prints page.

In this post, I am sharing a few of my intaglio, and chine colle’, prints. Both are intaglio prints but the term chine colle’ refers to a print whose image, or part of its image, is made up of colored paper that is adhered to a heavier printmaking paper. All the color in these prints is applied paper not ink.

My intaglio prints are all mixed media because I have found I like the texture, and uniqueness, that comes from highlighting each print by hand using white charcoal, black charcoal, white pencil. and/or graphite pencil.

When I choose not to use color, I print directly onto the heavier printmaking paper as in this black and white image. I still hightlight with white charcoal to give it added depth and expand the tonal range.

I could use white ink to highlight areas but there is a chalk-like playful quality about white charcoal that goes along with my imagery.

While it is hard to see the texture, or the sheen of the paper, on the computer screen, it is quite noticable in person.

I find that these mixed media creations have a soft, and earthy feel. What do you think?

More information about both kinds of prints can be found by selecting the hand-made prints page on this website.

Kathleen Zimmerman

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Peace and Joy

From all of us at Zimmerman Fine Art Studio!

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Does Art Matter?

In this troubled time of history, some people including artists are asking does Art matter? This is not a new question and it has been asked at various times throughout human history. As I consider this question today, I look to two historic artists who I admire, Kathe Kollwitz and Elizabeth Catlett, who both worked primarily in printmaking and sculpture, like I do, and who also lived in turbulent times. Both thought Art was a means of being socially responsible, and should be accessible to everyone, like I do. While we are not living during the World Wars, and the Nazi era, like Kathe Kollwitz did, we are still living during a time of inequality, like Elizabeth Catlett did. We are also living in a time of mass extinction, pandemics and what seems to be a war on wildlife.

So how did they, and how can we, make Art that matters? Kathe Kollwitz chose to champion those who stood up against oppression, for workers and the poor, using women as her main protagonist. Elizabeth Catlett chose to show the beauty and strength of women and minorities. I have chosen to stand up for a new way of coexisting with nature and other cultures. There is no need for me to make the case of why Kollwitz’ or Catlett’s work matters because they have done that themselves. I do urge everyone to look at their art and read what they wrote. I will try to make the case of why my work may matter by showing three recent series, To Be or Not To Be?, Star, and Quest, I created and the ideas behind them.

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To Be or Not To Be? Series uses architecture and elements from nature to present two different paths. One path, on the left, excludes nature from the human-built world and the other path, on the right, includes nature. While the human-built world uses dramatic imagery and suggests our temporary existence, the elements from the natural world emit a feeling of hopefulness and suggests a continuing existence. Shown here are the first three drawings of the series, Mesa, Forest and Jungle. I will be working on Savanna and Tundra in 2022.

Star Series portrays a variety of animals that for some reason or another have become icons, or stars, in a sense. These up-close and personal works of art are meant to help humankind reconsider the wild and address the extinction crisis. Shown here are the first six serigraphs of the series, Evening, Morning, Midday, Rising, Sun and Light, Bright. I will be adding Falling and possibly others to this series next year.

Quest Series looks at different countries in a positive light. While one country, or culture, may try to demonize another for various selfish reasons no country, or culture, is all good, or all bad. One thing humankind can agree on is every country has contributed food that we all enjoy. That is why I used some of these tasty delights as the subject matter in this series. Shown here are the first three drawings I created, Chinese, French and Mexican. I will be adding to this series as well.

Art can be made for artsake, it can be done to demonstrate the skill of the artist to recreate, it can be made to shock, it can perfect what has already been done, or it can address the issues of the time it is produced in to help humankind envision a better world. I personally think the latter is the most relevant and what is needed especially in turbulent times. That is why I make Art that shows the need for coexistence, our fellow creatures up-close and personal, the richness that all cultures add to life, along with other Art that matters.

Kathleen Zimmerman

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