Mimi Zouch standing next to her artwork. Image courtesy of the artist.
I'm thrilled to introduce Mimi Zouch (b. 1984, UK), a contemporary abstract artist whose work resonates with tranquility and meditation. Based in North-West London, Mimi's transition from a career in law to becoming an artist is as diverse as it is inspiring. Her art evokes a sense of peace and timelessness, reflecting her deep connection to nature and life's subtle complexities.
Mimi's remarkable talent has been showcased in several prestigious exhibitions, including The Crypt Gallery, America Square Conference Centre, and The News Building (Shard) in 2022, as well as The Decorative Art Fair in 2022 and 2023. She has participated in The Other Art Fair London and the Affordable Art Fair, with upcoming appearances at The Other Art Fair London's 100th edition. Honored with a solo exhibition at Queens Wood Cafe in 2023 and a duo show with Lisa Marie Price at Sarah Kravitz Gallery in 2024, Mimi's influence in the art community continues to grow, with two of her works currently on display at the Royal Society for the Arts. She is represented by galleries such as the Catharine Miller Gallery in Chelsea, London, Art & People in Bristol, and Art Friend Gallery.
What captivates me most about Mimi Zouch's work is its calming elegance, which is both visually appealing and profoundly soothing. Her innovative use of textures and colors mirrors her fascination with nature, particularly mushrooms and tree bark, which is a testament to her ability to translate the beauty of nature and everyday life into compelling visual narratives. Beyond the visual allure, Mimi's commitment to sustainability is admirable as she uses the highest-quality eco-friendly materials in her art practice. Mimi Zouch is an emerging artist who should be on everyone’s radar, and I am excited to share this interview to reveal the passion and inspiration behind her evocative creations.
Continue reading to discover the artistic world of Mimi Zouch...
Mimi Zouch, "The Fascination of Evolution" (2024). Carving on very heavy cotton rag paper creating a geometric paper sculpture. 113.5 x 164.5cm (framed size) 150 x 101cm (artwork size). Image courtesy of the artist. Check availability HERE.
Your journey from law to founding your own events company to becoming an artist is quite diverse. Can you share with us the pivotal moments or realizations that led you to pursue your passion for drawing and painting?
My love for art started when I was very young. My grandfather was an oil painter and glass engraver, and although he died when I was only 5, I have fond memories of exploring the treasures in the drawers of his art studio. At primary school, I remember drawing a realistic rhino with pastels when I was about 9, and that was the first time my art received really positive praise - it was a great feeling. Throughout my school years, I loved the art room and made all sorts of weird and wacky things. Alas, from a young age, I also had a strong affinity with the science of the world around us, so it was a natural fit for me to study Biology at The University of Birmingham. And I loved it.
My fascination with understanding and observing nature continues today and is completely interwoven in the artwork that I create, one way or another. I often drew and painted throughout my twenties, recreating cult classic pop art pieces that I loved but didn't make my own original art. I just needed to paint to escape the corporate world I'd found myself in and, at the time, was not enjoying. I'd often paint into the small hours of the morning in the living room of the Camden townhouse I rented with others. It was my meditation - not that I knew what this was at the time.
I went on to do a life drawing course at Kingston, which I enjoyed immensely. This was a key moment for me; at 25, I knew I was drawn to creating more than just a hobby and considered jacking in my corporate career to return to uni to study an arts postgrad. But like many artists, I was persuaded not to by my family, who worried I'd end up as the ''starving artist."
The art path was parked yet again. Instead, I pursued a different creative path as a luxury wedding and events planner - at the time, it seemed like the perfect mix of creativity and business. I did this alongside my legal career in retail for four years, and it was a (tough) whirlwind from which I learned so much; I had incredible experiences and delivered magnificent weddings and events in the most magnificent venues and prestigious hotels. But when that came to an end in 2016, I took a long old (much-needed) break from anything outside of the day job in law.
My focus turned to fitness and training for the Triathlons I was racing in 2017 to raise money for charity, something I had never done before. The training took over my life, and in early 2018, at the peak of my fitness, I tragically broke my foot in the gym. It was bad. This was a moment that changed everything, and the course of my life took a dramatic turn. Within seven weeks of the accident and being immobile, I'd had a breakdown; I was suffering severe stress and anxiety and had to be signed off work. I was off for over three months, struggling to understand how and why I felt the way I did and not able to make sense of things or get out of the state of anxiety I was in. That's when art found me again; as always, it was there when I needed mental support and a way of expressing my feelings that I couldn't articulate with words. At the same time, I found I was able to swim again, gradually building up; the two went hand in hand.
I focused on meditation through swimming, sometimes over 3km in a single session, and communication through drawing. Then came the walking, gradually building up time and distance. I'd spend so much time in Hampstead Heath every day, desperate to regain my old strength, mobility, and identity. These three things were my salvation.
However, I only started to think of myself as an artist once I met Braden, an artist and production & set designer and the most wonderful American man I had a date with the day before my birthday in October 2019. We talked for hours; he told me, "You are an artist; you have to start seeing yourself as one!". He had sowed the seed; he saw the artist in me, which spurred me. Could I dare to see myself as an artist? Not yet...I wasn't ready.
The following March, I flew out to the USA to see Braden (yes, I'm a hopeless romantic) and continued to think about what he had said, revisiting the idea of pursuing art as a career. At the end of my road trip up that Californian coast, I spent a few days in San Francisco, where I stayed in an air bnb above an amazing artist's sculpture studio. San-Fran was magical, and despite the start of covid, meaning things were getting a little weird, I had many fabulous conversations and experiences there, which all pointed towards one thing: ART.
The sculptor whose studio I stayed above was Brian Goggin. He offered to chat with me about everything before I left, so I took him up on it. This was my next pivotal moment. We spoke for an hour, at which time he gave me the names of books to read, including Julia Cameron - The Artist's Way (also recommended by Braden). At the end of our chat, despite my protests that I'd never sold a piece of art, he made me promise from that moment forward to start calling myself an artist. He told me: "It's creating that makes you an artist, not selling the art you have created." So, I made the promise; he believed in me, and it was time for me to start believing in myself. He packed me into a taxi for the airport and I waved goodbye as the taxi pulled off. The usual small talk ensued, and the taxi driver asked - "so what do you do?" I thought about it for a split second and remembered my promise, "I'm an artist," I said. I've never looked back.
Mimi Zouch, "We're heading in different directions" (2023). Carving on very heavy handmade cotton rag creating a geometric paper sculpture. 86.4 x 66.4cm (framed size) 57 x 79cm (artwork size). Image courtesy of the artist. Check availability HERE.
When selecting paints and materials for your artwork, what specific qualities do you look for, both in terms of aesthetics and sustainability, and how does the choice of surface—be it paper, canvas, or linen—impact your creative process and the final outcome of your artwork?
When buying my materials, my first priority is how they will behave when working with them and whether they have the right look and quality for the work I want to achieve. I've tested countless different brands and finishes of paper and learned which ones allow me to carve them how I like to and have the desired texture; the heavier the paper, the more texture I can achieve. I rarely work on paper under 630gsm.
The other important quality of paper is how it holds paint, so the sizing of the surface makes a huge difference to this. Wherever possible, I use handmade papers from small independent companies -firstly, because I love the natural deckled edge of the sheet, and secondly, because I appreciate the traditional artisan processes they use to make them by hand. The two main brands of paper I use are both eco-conscious, using recycled cotton and linen fabric in their process and being conscious of energy consumption.
When it comes to my blades, they have to be both extremely sharp and very hardy. Blades do not like cutting through the paper over and over and blunt quickly (think about when you were told not to use your mum's best kitchen scissors to cut paper as a kid!). As soon as a blade starts to blunt, it becomes more resistant to moving through the paper and, consequently, more taxing on my fingers, so it must be changed for a new one multiple times while creating a single piece of art. The higher the quality of the blade, the longer it lasts between changes, so I'm very particular and only use the best!
When it comes to the shape of the blade this is completely dependent on the work I'm creating. I typically work with around five different shapes and sizes that allow me to create different types of carving, and then I have around another five more obscure-shaped blades that I use less frequently. Luckily, the handles I use are all metal and reusable infinite times, which helps reduce environmental impact - I still use one I inherited from my grandpa's studio all those years ago!
Then, for my paints, it's simple: they have to be highly pigmented, flow beautifully on the paper, and be of excellent quality that will stand the test of time. My favourite paints are Golden, but I also enjoy using Liquitex and Windsor & Newton paints too.
Regarding my choice of surface, I love painting on canvas and linen, but my focus has been on paper sculptures for the last 20 months or so, meaning I've had little time to create my dreamscape paintings. I am hoping to incorporate painting on canvas and linen back into my practice over the next 12-18 months and may create dual collections composed of paper sculptures and paintings that act as one body of work.
Mimi Zouch's painting in a bedroom. Image courtesy of the artist.
The natural world seems to significantly inspire your art, particularly your fascination with mushrooms and tree bark. Can you tell us more about what draws you to these elements of nature and how they influence your creative process?
Hopefully, my journey into art has revealed more about why I am so inspired by nature and why it finds its way into my collections of works. Quite simply, I spend so much of my time in nature and water; when I do, they bring my mind into a better place and give me room to breathe and be creative. It's where most of my inspiration comes from, and I quickly note ideas so that they aren't allowed to just float away again.
My interest in mushrooms started when I was really young, perhaps six. My aunt bought me a science book called What Is It? for Christmas. There was a section on mushrooms, which were toxic and poisonous, and how to identify them. I was fascinated. Fast forward to 2021, when I got my dog Indy, I started to spend time in diverse woodlands every day throughout the seasons. As seasons changed, I would spot new ones that I'd document on my phone with photos, checking the gills, colors, and characteristics and getting better at identifying them. Mushrooms are truly beautiful and incredibly diverse in shape, color, size, and texture. It was inevitable that mushrooms would influence my work, particularly the delicate texture of their gills, the shapes of clumps on trees such as oyster mushrooms, and the frill-like patterns of other small brackets such as turkey tails.
With tree bark, again, there is a huge variance in textures. Some are mostly smooth, with really straight lines running across them. Others are deeply coarse and furrowed like old faces. They are such a juicy source of textural inspiration! I also love how trees grow and the shapes they produce as they wind their way upwards. Truly intriguing. For many of my works, these shapes and textures help influence the pieces I make and the texture I decide to use in the carvings. I like the idea that viewers of my work can get lost in the carvings and enjoy their own meditative state, bringing them closer to that feeling of being in nature, in the same way that I enjoy when I create the pieces.
Mimi Zouch in her studio. Image courtesy of the artist.
Do you have any studio rituals or routines that help get you in the creative zone? Perhaps a favorite playlist, podcast, or quirky habit that sets the mood for your studio sessions?
When I'm experimenting and doing studies, I don't really have a routine - I'll be rummaging through paints and pulling out different options as I go, trialing different blades, and making my selections. But when I start a session for a final piece, I set up my aromatherapy humidifier and get a cup of herbal tea and a glass of water. I get out just the tools I need on my workbench at the start - I like it to all be organized before I dive in. When it comes to music, I don't have a set playlist; I like to mix it up and often ask Alexa to choose or play the radio so I feel like I have company - especially if it's a long session spanning several hours!
Mimi Zouch, "Wishing For More Time" (2024). Acrylic and Carving on Paper Framed in black stained oak with ArtGlass. 42 x 52 - (48 x 58cm Framed).Image courtesy of the artist. Check availability HERE.
I've been particularly drawn to your artwork "Wishing For More Time" (2024), especially because of its captivating checkered style. I find all your pieces to be incredibly elegant and timeless, but this one stands out to me. Could you share what inspired you to create this piece and how the choice of the checkered style complements the theme or emotions you intended to convey?
Thank you; this really means a lot! The inspiration for this piece, alongside "Wishing For More Time II," "The Fascination of Evolution," and "The Passing of Distance and Time," all being checkerboard, I think, came to me because of my enjoyment of repetitive patterns and my love for geometric shapes. The checkerboard kept flashing up in my head, so I knew I had to get it out and into my work. With these, I wanted the checker to be fluid and have movement like water or fabric, indicating the continual flow and change over time. The more time you have, the more things evolve. I knew I wanted to contrast the painted elements with linear carvings on the plain paper sections. These reinforce the repeating over and over of the checker, again coming back to that meditative thought process. The black paper of "Wishing for More Time" added an additional element. I wanted to keep the pieces dark, so adding the conventional white to the checkerboard wasn't an option; I needed to go darker. I decided a deeper black with a high gloss finish felt right for the pieces - subtle and low contrast but clearly visible. These pieces are playful but maintain their elegance through the all-black palette.
Mimi Zouch, Close-up of"Wishing For More Time" (2024). Acrylic and Carving on Paper Framed in black stained oak with ArtGlass. 42 x 52 - (48 x 58cm Framed).Image courtesy of the artist. Check availability HERE.
Could you share a memorable experience or moment in your artistic journey where you felt particularly fulfilled or inspired by the creative process?
I think a stand-out time has to be when I decided to "scratch the itch" and start experimenting with cutting into and carving paper. I kept having the urge to, and one day, I dug out the scalpel and blades I had been left from my grandpa's studio and went for it! I tried out on postcard-sized paper initially, and after some trial and error and receiving positive reactions, I quickly scaled up to larger works. This is particularly memorable because it was a pivotal moment in my artistic journey where I was creating unique original works that spoke to my audience. It felt right, and I was excited to create more and more!
Mimi Zouch cutting into and carving paper, as described above.
Finally, looking ahead, what are some of your aspirations or goals as an artist? Are there any new techniques or themes you're eager to explore in your future work?
My aspiration for the next two years is to reach out and share my work with more collectors worldwide. I plan to exhibit in the USA next year, which I'm already figuring out and am excited for! I'd also love to spend time doing residencies in other countries at some point, knowing how much I gain from being immersed in different cultures. This will inspire and develop my practice. A big focus for me right now is the business side of things; as "un-creative" as that sounds, it really is one of the key pillars to finding the success I aspire to have as an artist - we have to wear many hats. Lastly, I have a couple of new collection themes up my sleeve, but you'll have to watch this space for what comes next! I do know there will be some gilding happening, which is a new technique for me, so I can't wait to see what that adds to my work!
Stay up-to-date with the artist here:
Instagram: @mimizouch_art
Website: www.mimizouch.com
Hello! I want to underscore the importance of transparency in my work. I maintain no affiliations with the artists or galleries showcased in this interview, and I do not gain financially from any resulting sales through the provided links. My ethical stance extends to not accepting money from artists for features, as I firmly believe in recognizing talent based on merit rather than financial incentives.
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XX Jenny
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