LONDON.- Dirimart presents Peter Zimmermann’s solo exhibition still flowing, the artist’s first solo show in London. Presenting a new body of epoxy-on-canvas works, still flowing will be on view at Dirimart London from 8 October to 7 November 2026.

Over the course of three decades, Zimmermann has mastered the unique properties of epoxy resin, producing works that sit at the intersection of digital aesthetics and material physicality. Approaching painting as a series of experiments, and in response to the digital culture that increasingly shapes our lives, the artist prioritises manual labour. Working with a material that is viscous, neither solid nor liquid, Zimmermann creates through a series of gestures, not imposing form but negotiating with the material within the narrow window of time before the resin solidifies. What ultimately appears on the canvas is the result of a conversation whose second participant does not speak but has very definite views.

The exhibition title reflects the nature of the material Zimmermann works with, holding this double movement in two words. still does two things at once: it means still as in motionless, halted, at rest, and still as in yet, even now, continuing. still flowing is therefore both a standstill and a persistence in a single breath. That is precisely where these paintings exist. They capture the moment in which something has not yet found its form and has already stopped losing it; in which the flowing has come to rest and nonetheless continues.





The paintings show colour that has moved and whose movement has come to a halt: bubbles that seem to rise through blue, beads clustering into bunches on a red ground, and green drops running down a violet field as if the pane had been fogged over.

At first glance, they are works of great beauty: glossy, deep, almost ornamental. Look closer, however, and the formations begin to recall cells, secretions, or something that grows without having asked. Attraction and unease exist side by side. Here, beauty is not smooth nor straightforward.

The sheen of the resin further complicates the surface. Reflected in it, viewers see themselves and the surrounding room, blurred among the drops. The surface mirrors what is happening in front of it while simultaneously drawing the eye inward, into layers that lie one above another like sediment. The canvas beneath is no longer a painting ground, but the bed of a shallow body of water. One looks at the picture and into it simultaneously.

In this tension between movement and stillness, surface and depth, attraction and unease, the paintings remain suspended between states. Though the resin has hardened, the movement that shaped it continues to register across the surface. still flowing ultimately describes this paradox: a painting can hold a moment still without bringing its movement to an end.