Peter Zimmermann borrows the knowledge of old masters like Cranach and Durer in superimposing layers of paint to provide a subtly transparent effect. Oil painting is replaced here by epoxy resin in which acrylic pigments are randomly inserted. Peter Zimmermann also reinvents Action Painting and Colour Field Painting, giving them a post-modern twist. The abstract motifs that have been present in his works since the end of the 1990s spring paradoxically from figurative representations. Thanks to computer tools and dithering, the artist deforms visuals, texts and signs coming from his own inventory of sundry images that recall the atlases of Gerhard Richter and Warburg. The digital files obtained in this way, which are the matrices of his future paintings, are subsequently transfigured. Peter Zimmermann’s ‘tactile’ paintings possess a luminosity and unique internal sensuality issuing from a complex technique.