Under the title Common Disposition, Hendrik Zimmer presents new works that emerged from a shared artistic approach—yet find expression in very different materials and techniques: woodcuts on canvas, woven rugs, and glass works. What unites these works is not a formal program, but rather an attitude toward the material itself—the conviction that surfaces, structures, and textures carry within them the story of their creation and make it visible.

Since late 2021, Zimmer has been working intensively with woodcut—an ancient artistic technique that he has consistently refined. The technique shapes his visual language: solid areas of color, pronounced contours, and a play with color density and intensity. In doing so, Zimmer draws on the tradition of Japanese woodcut workshops and the European avant-garde of the 20th century—while imbuing this tradition with his own unmistakable signature. In Common Disposition, woodcut now enters into a dialogue with two other craft traditions: weaving and glasswork. All three techniques demand precision and patience; all three allow—indeed, require—the material to influence the process.

This is precisely the core of Zimmer’s understanding of art. He does not see himself as the sole creator of his works. The peculiarities of the material, the irregularities, the coincidences, and the resistance inherent in every craft process—none of this is corrected, but rather acknowledged and integrated. For Zimmer, the visibility of the creative process is not a stylistic device, but an honest statement about the creation of art: that intention and result are never entirely identical, and that therein lies a truth and beauty all its own.

“Common Disposition” thus also describes an attitude—the shared willingness of material, process, and artist to engage with one another. The resulting works are unique in the literal sense: they arise from the specific interplay of intention and resistance, of control and surrender.