Im-Press-ive Women

The light entering my studio fell on my face as I opened the blinds. A calm spread through my body as I held the glow and took a breath.

I was contemplating the Divine Feminine and its iconography, and did not recall an explicit power symbol rooted in sacred geometry. A female counterpart to the Vitruvian Man, the image of the Aquarian Woman emerged while I was training for underwater swimming, practicing prolonged breath holding. Here in the zero gravity situation, my mind became very still and clear as the sunlit pool water. The name represents the Aquarian Age, which succeeds the Piscean with the passing of the millennium. I created a Universal Mother Series, expounding on my momentary but impressive vision. I have several versions of her, drawn, painted, and sculpted since 2015. This intaglio version was printed in the first days of 2026.

Noticing how differences make life sweeter, this concept was originally a drawing before creating a linoprint. Sameness makes the world a boring place, it is the differences that enhance the flavor.

The variety of soil textures from fine sand to heavy pebbles create a great variety of surface textures which are especially interesting to me. Embossing seemed the most appropriate way to address that. As a flat embossing I discovered that both front and back of the embossing were of equal interest. Manipulating the piece to show both front and back increased interest as did the cutting of chosen spaces. Phone Number: 203-899-7999

Zoo Series communicates the interconnectedness of life in a series of circles of life drawings which I made into serigraphs. They go along with related animal tales/poems titled Magic Circle. Tundra is a serigraph which used one of those graphite drawings as its basis. When I created my drawing, I thought about how it would translate into a serigraph. I then scanned, refined, and adjusted the scanned image before making a bitmap of it to be printed on a transparency film. I developed the transparency onto a screen, which was coated with a light sensitive emulsion in a developer. After rinsing out the screen I applied ink through the screen onto the paper below. When I edited the print, I added additional colors by painting ink directly onto the print. What makes serigraphy, or more commonly known as silkscreen printmaking, the perfect printmaking mode for my art is, I can retain areas of pure white paper, capture the tonality of my drawings, and place areas of intense color that either overlaps part of the image, or lightly kisses the edge of image. Kathleen Zimmerman

On a visit to Fort Myers, Florida, I was walking along the water at the Ford and Edison estates, and saw an egret wading by, searching some dinner perhaps. I took a photo, and wanting to show my students how to layer linoleum blocks, (used Gomuban), I took on this project. Phone Number: 203-899-7999

After a drive through a state park, I was inspired to make line drawings of rock formations viewed from the passenger window of the car. The drawings became the foundation for a series of relief prints on paper. The printed paper was then cut into and interwoven with sections of aluminum sheeting and photo transparencies made from vintage photo albums. Phone Number: 203-899-7999

Solarplate Etching printmaking technique was the medium used to create this piece. Through repetition and mirroring of a quick drawing depicting a dancing figure, the intention was to portray a movement, a dance. Women dancing in a circle, joyfully supporting each other, celebrating life. I utilized thread, a material traditionally used by women to mend or embroider, to emphasize the connections between the dancers.

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My work investigates loss, memory and the fragility of human connection: Absence and presence, the invisible but indelible record of experience, the prismatic nature of memory. I create work to make visible what is intangible. Phone Number: 203-899-7999

I was creating a demo for my printmaking students on chine collé and decided to keep going on this tangent in my own practice. It can be very simple, but effective, as seen here in the monkey's face. Adding a piece of paper for a more detailed section and extending the paper to create a hard hat over the top of his head eliminated the need to carve another block, and made his face stand out from his body. Also, deciding to keep the space behind his face white, but include typeface in the hat area is a decision to consider when making choices for chine collé materials. The AP card was a real document that I added a paw print and signature to, and the camera was a Xerox collaged on, as well. A lesson for my students that I enjoyed learning from, too. Phone Number: 203-899-7999

Remnants of the Past is a series rooted in historical fragments, where photo etching becomes a vessel for memory and quiet testimony. Using archival imagery as a guide, I rework moments from the past that might otherwise fade into obscurity. Figures appear suspended in time, rendered in sepia tones and softened edges, evoking the way history lingers not as a fixed record but as an emotional residue. The recurring train setting functions as both a literal and symbolic passage. It speaks to movement, migration, labor, and the unseen lives that sustained systems yet remained uncelebrated. This imagery was inspired by photographs I took of the historic Skunk Train, itself a remnant of a bygone era. Its weathered presence, worn surfaces, and lingering stillness became a visual and emotional catalyst for the series. Uniformed bodies, bowed heads, and intimate gestures suggest dignity carried under the weight of routine and restraint. These are not heroic poses, but honest ones. Through the etching process, I embrace texture, erosion, and tonal restraint, allowing marks to echo the wear of time itself. Each image functions as a visual remnant, inviting viewers to slow down and witness the humanity embedded within everyday historical moments. This series is an act of honoring. It asks us to sit with what remains, to acknowledge those who came before, and to recognize how their presence continues to shape our collective now. Phone Number: 203-899-7999