Almond Zigmund’s work strives to sharpen our perceptions of space while exploring the nature of opposition.  Combining crisp geometry, vivid color, and intricate patterns, her drawings, sculptures, and installations often suggest walls, barricades, enclosures, and other aspects of the built environment.  Her architectonic works tend to engage the eye and the body at once, offering generous amounts of visual stimulation while also inducing visceral reactions to the virtual and actual spaces she creates.
The phenomenological impact of Zigmund’s art derives from a number of practiced formal devices.  When working on paper, or directly on the surfaces of existing architectural spaces, she frequently plots precise perspective points to demarcate volumes or plunge viewers into illusory realms and taps into a dialogue of here and there, improvisation and choreographed gesture, and the nature of form as it serves to alter our visual perception and physical stability.
She culls patterns from a number of architectural sources, both domestic and commercial, to collapse and confuse historic divisions between structure and ornament.  In her hands, pattern often transcends its conventional role as a secondary embellishment and claims the ability to define forms and clarify spaces.  In a related vein, Zigmund harnesses the inherent immateriality of color, granting it a physical presence through the use of bold hues, granular flocking, and adhesive vinyl cutouts.  Many of these devices recur in Zigmund’s sculptures, which appear to extract their constituent parts from the patterns found in her other works.  Here the repeating motifs are conceived as building blocks, allowing Zigmund to generate a variety of three-dimensional forms that hold structure and ornament in dynamic tension.

While her work rarely shies away from aesthetic pleasure, Zigmund also seeks to challenge and destabilize perceptual habits, and awaken viewers to the coercive power of the spaces they occupy and move through on a daily basis.  In this regard her work may be linked to the founding principals of Minimalism, certain goals of the Pattern & Decoration movement, and the more recent writings of Marc Auge, who coined the term “non-place” to describe seemingly negligible public spaces that facilitate transience.

Originally from Brooklyn, Zigmund received her BFA from Parsons School of Design, in both New York and Paris.  She later earned her MFA from the University of Nevada, Las Vegas, where she studied art theory and criticism with the MacArthur Award-winning critic, Dave Hickey.  During this formative period, far removed from the New York art world, Zigmund pushed her boundaries, followed her own path, and began to make smart, cool stuff.

Zigmund's work has been exhibited internationally for the past decade, including shows in Zurich, Berlin, New York, Los Angeles, Las Vegas, and Columbus.  Her work has been selected for shows curated by Dave Hickey, Robert Storr, David Pagel, David Adamo, Jessica Frost, Rolf Staub and Steven Criqui, among others.  In 2007 the Parrish Art Museum mounted a solo exhibition of her work, titled “Remembering The Future”.  Zigmund currently splits her time between Brooklyn and East Hampton, and has been represented by the Rebecca Ibel Gallery since 2005.