In Landmarks of Industrial Britain, Carl
photographs his fabrications of impossible
that represent ruins of the British Empire.
Zimmerman’s work begins by constructing scale
models of monumental neoclassical public buildings
that, when photographed, appear to represent
real architecture. Although he portrays structures
that are seemingly factual at first glance, his
intent is tied more to the notion of portraiture
than that of fanciful, empirical or critical record.
This series imagines a school of monumental
public architecture respective of the political,
and technological upheavals in 19th century
Britain – a country that at the time ruled about
a quarter of the earth’s land mass and that Marx
felt would be the home of the first workers’