No synonymous. Folds of bio-chromía
Miguel F. Campón

Sometimes it is necessary to speak of life. Think of this experience as a vague, indefinite and infinite force. Write a text where its vital grammar evolves in different phrases, where words – never synonymous – struggle to find their indicated valley when tumbling down from mountains of language.
Where would life be launched? Where would it fall? Would it awake in an area of beauty, or end by opening its many eyes to humility, in the most fragile position of dreaming about collapse and transparency?

It is in this area of discovery where we find the work of Michaela Zimmer. Looking at them we begin to realize that the corporeal speaks the language of a singular limit: “recognizes a power not beyond / spatially, you see me being restricted / the body reaches where the physical energy comes and goes / thus I happen / between beings not translated / that are born to themselves with care / in surfaces without revealing “. A language where the body interacts with the canvas by means of human dimensions, structuring a dance executed with the speed of either: the velocity of light or the walk of a turtle. Encounters between support and artist tensing the syntax in the arc of the body, pointing out the proximity, the vicinities and the possibilities of a surrounding seduction that flourishes in the unambiguous amplitude of a movement, pure and eminently physical, of a distinguished visuality.

In the whitish gray of the canvas an illegible letter begins with an appointment invented, perhaps taken from a manuscript written in the privacy of the cosmos: “Everything happens, but never an object will happen to us. The objects, like you, are transparent. ”
Physical messages in a profligate Morse code to the asymmetries and harmonies of space. Life, without imitation or translation, is the estrangement that occurs next to the touch, in the basic and radiant presence, below measures and images, where the balance contains the echo of a movement and the hidden history of the body that went through it. This life, friend of gestural atoms, conversationalist of informalist groups, subsection of fascinated strokes, protector of random drips, recipient of fiction and luminescence generates gentle, forceful, close and secret telegrams of tireless extremes of corporeality. Here the canvas mutates to a sensitive blackboard of inimitable efforts, linear traces and marks that are spatial burns of authenticity. Zimmer signs an undisclosed contract on mutations and states of mind, a dictionary of information and textures to be yet discovered.

The painting meanwhile gains momentum on its own account, ruled by its physical engagement with an extended skin of plastic in many colors, delicate and extroverted, that increases, little by little, the viscerality of existence. A plastic world of alterations in a sensorial immensity between tension and ease. Its body wrinkled, stretched, positioned, cut, twisted, fragmented, pierced, straining color, time and shape, increasing or decreasing the delirium of floating and reflective thought, until the fluorescent material manages to return to the abstraction of right angles, released in the sumptuousness of chromatic tonicity.