“Art is an experience,
not an object.”
Jasmine Zimmerman is a relational artist who creates experiences people never forget, making invisible forces of human connection visible and tangible.
Relational artist. Social architect. Creator of WEAVE.
Named one of the
“World’s 100 Most Creative Women.”
As the only person known to have documented living completely offline for three years, Jasmine Zimmerman brings an extraordinary depth of presence and real-world human connection into her art and the communities she creates.
A living social architecture for human connection.
Created by Jasmine Zimmerman, WEAVE is an international offline social club that transforms her relational art practice into a real-world web of belonging. Through immersive, screen-free experiences, people become part of the work — creating, connecting and experiencing social and emotional transformation in real time.
Humanity is the medium. Threads are the vehicle.
Instrument of Light
This image is the prototype. The intent is to scale into architecture & large-scale experience.
Elastic Light — a medium you can hold.
Jasmine holds a patent on Elastic Light — a medium she invented after working with rubber bands in the streets at night, imagining them glowing.
The result is an elastic architecture that moves with you: voluminous, touchable light you can sculpt, shape, and stretch with your own hands. It responds to you. It changes when you change it.
There is nothing else like it in the world.
US Patent No. 10,101,012
A social sculpture.
Jasmine creates real-life, in-person worlds that use human encounters as their medium. Strangers from different walks of life, languages, and cultures enter them and activate them — an unscripted, unrepeatable moment defined by curiosity, play, and presence.
She sees the invisible threads between people as unrealized connections, and makes them visible. Like constellations pulled down to eye level, her installations materialize the interconnectedness that is already there.
Relational art is focused on inter-subjective encounters rather than the classic subject–object experience. The threads are the vehicle. The pedestrian becomes the performer, and anonymity becomes belonging.
The people are the paint. The art is the paintbrush. Jasmine authors the world; the people who enter it inhabit and transform it — forging bonds that would not otherwise exist.
Wooster on Spring · 11 Spring Street
With the street art platform Wooster Collective, Jasmine contributed to Wooster on Spring — the legendary exhibition that turned an abandoned SoHo building into a multi-floor canvas for the world's top street artists before it became luxury condos.
She wove a massive rubber band web as the second-floor centerpiece, then stitched the building itself together through the knotholes of its wooden planks, ground floor to sixth. A tug on one floor reverberated through all six. The architecture became a single body, and every visitor a pulse inside it.
The Web Project
Begun as a street experiment in New York City around a single question — I wonder if this could make people more present — it grew into a massive installation at McCarren Park in Brooklyn, co-created with Danish visual artist Karoline H. Larsen: 13 miles of colorful string holding up to 200 people at once, dancing, walking, and tangling themselves within the art, and each other.
Copenhagen Metropolis Biennale
The following year, the City of Copenhagen commissioned the duo for a month-long durational exhibition across the city, weaving passersby together in previously void spaces.
Museum of Glass
At the museum founded by Dale Chihuly, Jasmine staged a month-long interactive exhibition that filled the negative space — making the empty space positive and the positive space negative. Visitors added to the work every day.
Gallery & Luxury
Window-spanning rubber band webs for Barneys New York's flagship, David Krut Projects in Chelsea, Perugi Gallery in Venice, and Tommy's Toko in Amsterdam.
- The New York Times
- Time Out New York
- Metro New York
- Good Day New York
- Architecture Daily
- Inhabitat
- The Stranger Seattle
- The Seattle Times
- Barneys New York
- Museum of Glass
- Bumbershoot Music Festival
- CitySol Music Festival
- City of Copenhagen
- TommyzToko Amsterdam
- Perugi Gallery Italy
- Bryant Park NYC
- Lower Manhattan Cultural Council
Water, clay, and the memory of touch.
I once lived on a houseboat surrounded by phosphorescence, watching bioluminescence twinkle around my fingertips. Clay came even earlier — my grandmother was a ceramic artist. It is elastic. I breathe on it and it moves. It holds the memory of my hands.