Living works of art inspire Daniel Zimmerman’s large-scale paintings
Daniel zimmerman has an admirable ambition, not simply to compose a life of creativity and infuse it with friends, art and gardening but to establish one of the South’s most notable garden studios, a refuge “where people can gather to celebrate the arts and the beauty of nature and life.”
The Atlanta-based painter, whose large-scale works in oil investigate themes of growth, potential, anticipation and joy, conducts his explorations in a 5,000-square-foot studio encompassed by gardens he cultivates as a ready source of inspiration.
“This dream started when I was going to school at Ole Miss,” says the Mississippi native. “As I have worked the last 12 or so years in design, I have developed a clear vision for what this looks like for me. I want to create a place where I can paint while being surrounded by nature and natural beauty.”
The idyll began with a road trip that landed at the Merigold, Mississippi, garden studio of McCartys Pottery. Zimmerman was astonished by what he saw. “I couldn’t tell if I was in a garden that had a studio or if it was a studio with a garden,” he says. “And it didn’t matter. I just knew it was my kind of living. It made a lot of sense to me to work this way, surrounded by all the things you love and in a tranquil environment.”
It proved a pivotal moment in how he envisioned his future: art and gardening as a lifestyle through which he could merge his dual loves. “It was authenticity at its best, and it deeply impacted my vision for how I could live my life,” Zimmerman says. “I saw the world they created there and knew I would find my own version of this way of living. The studio I envision would be a large property full of gardens with peacocks roaming around. I want people to be excited to come visit and spend time in my studio and the surrounding gardens. When my life ends, my hope is that this place can be turned into some kind of an organization for the arts that will provide enlightenment and inspiration for many people.”
Zimmerman grew up in a rural environment and later attended the University of Mississippi, where he studied banking and managerial finance and earned an MBA. He moved to Atlanta in 2012 in search of broader vistas.
“I wanted to experience city life, but I wanted to stay in the South to be near my family, so Atlanta made the most sense,” he explains. “I decided to come here for a few years for the experience, but found myself a very nice life, so I am still here. I came to Atlanta like many young people who are intrigued by what life is like in a metropolitan area. I wanted to meet all kinds of people, to learn how they live and open myself up to a broader sphere of influence.”
He was also intrigued by the idea of communities of artists, as well as new educational opportunities to help him grow as a painter. That Atlanta is an airline hub, and a ready conduit for travel, was another impetus. “I travel constantly,” he says. “The way that I learned how to paint was by traveling and going to see different artists at work, mainly in ateliers in Paris. I also admire the work of Manet, Sargent and Monet. I love impressionism, generally speaking, but also some moderns, such as Ben Quilty out of Australia.”
Zimmerman invested years in creating pottery before turning to painting. Though he wanted to be in the arts, he wasn’t yet comfortable with the larger art world. Today, he is a renowned artist who is very much at home in that realm; his work is devoted to vivid depictions of plants and flowers, as well as to portraits. “I strive to maintain my practice within the boundaries of actual inspiration and slight impulse,” he says. “My work comes to life as I experience the feelings I want to convey. Think of the longing you may feel when it is winter—cold and dreary—and you dream of a sunny spring day. Through my work I can make that happen for myself anytime I desire. When it comes to division of work, I can’t really say when I will be inspired to paint botanicals or portraits. I just paint what I know I am supposed to paint that day. Portraits come naturally in a similar way.”
Zimmerman’s focus remains oils. He believes the classical medium grounds and connects him to the history of painting. “Oil paint also forces me to slow down,” he explains. “It takes a really long time for most of my paintings to dry, and during that time, I get to enjoy having them in the studio. I study them. I absorb the optimism they exude. It has become an important part of my process to enjoy my work before it goes out into the world. One additional bonus of working in oil is that I can mix in lavender essential oil into the paint. This infuses the paintings with an incredible scent. I believe that it is in our nature to love the natural world. It has surrounded and nurtured us since the beginning of time. I think this is a part of all of us, and I am just expressing it.”
When Zimmerman explores an art museum, he marvels at great works as much as any other visitor, amazed that these artists were able to create such works with the same tubes of paint he utilizes. “It simultaneously demystifies and enhances my respect for these artists,” he says. “They were just people, too, though they also had an incredible amount of talent and skill. One of the most fascinating concepts behind a work of art is that there is no limit to the number of minds it can inspire. It does not depreciate with each view and has the potential to touch countless minds.”
For Zimmerman, contemplating this potential in his oils is exciting. He asks himself what the future might hold. Could his work inspire someone? It enhances the meaning of creating the work.
His style has been described as an amalgam of impressionism and realism with aspects of neo-expressionism, alloyed with an optimistic sensibility. He never attended formal art school. Rather, Zimmerman’s training and development have been self-directed, augmented by a passion for paint itself. And its boundless potentialities.
“When I think of the foundation of my style, the base layer is rooted in inspiration,” Zimmerman says. “This is not art for commerce. This is art as an expression of freedom, creativity and joy. This informs my work in that I allow myself to explore freely between styles and sometimes merge multiple ones. I have not tried to name what I do, at least not extensively. I see my role as focusing on my creativity. My job is to seek inspiration and to allow the work to flow through me.” *
Bill Thompson covers the arts, design and books.
