‘Michaela Zimmer’s paintings bring the body forward as an argument. This is not necessarily visible at first, but it is palpable, because the format and interior structure of the canvases are based on the artist’s height and reach. Thus a performative space is portrayed which corresponds directly with each viewer, since like Le Corbusier’s Modulor, it takes man as the measure. If one engages with it, not only does a fusion of pictorial and actual space occur, the painting support and the picture also become one. For lack of a fixed source of light in the picture, the distance collapses which separates the viewer from the site of the visual experience...What is specific about these canvases, characterised by a virtually incorporeal, floating chromatic space, is the fourth dimension inscribed within them: time manifested as traces of the performative’
(S. Prinz, quoted in ‘Falsas Prospettivas’, exh. cat., Umstellen, Berlin, Kunstverein Tiergarten, 2014).