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Zimmerman’s abstract crushed and annexed distortions find context in the presence of the artist’s larger oeuvre, commonly consisting of tableaus of violent or orgiastic movement in figural multiplicity — often similar in complexity and a recognisable humanising and moralising tone to that found in the work of Hieronymous Bosch. This pair of sculptures breaks recognisable identity down to become informal and semi-representative male or female shape, the ceramic — roughly coated in a caustic glaze and cracked in firing — is only truly suggestive of a great stress impressed upon it.