independent work

DECENTRALAND

OFF+ON

PAVILION

immersive + interactive 3D experience hosted in Decentraland metaverse and custom phygital avatar wearable (available in digital and physical form)

  • [ selected as 1 of 4 international artist to design a main gallery build for Decentraland's Art Week 2024 ]

    Designed, built, and curated by Match Zimmerman, the OFF+ON Pavilion was an interactive 3D metaverse gallery created for Decentraland Art Week 2024. The fully immersive space housed an exhibition of Web3 and NFT artists, selected and curated by Zimmerman, who also developed the environment architecture from the ground up using Decentraland’s SDK. The pavilion included a dynamic sound installation with reactive 3D objects embedded in the virtual roof—creating an evolving ambient experience that shaped visitors’ movement through the gallery.

    The structure was wrapped in Zimmerman’s original Dazzle Camouflage pattern, a digitally reimagined take on WWI naval camo, used here as both visual metaphor and spatial intervention. Expanding the project’s presence into avatar identity and digital fashion, Zimmerman released the Dazzle Camo Sweater, a free wearable distributed to hundreds of Decentraland users. A physical version of the sweater is also available as part of Zimmerman’s ongoing MZBRDZ project, which explores symbolic systems and hybrid embodiment across physical and virtual space. The OFF+ON Pavilion reflects Zimmerman’s integrated practice—combining architecture, sound, curatorial authorship, and identity design into a fully co-created digital experience.

ABSTRACT

CHATTER

VR/METAVERSE

Loop Art Critique / MUD Foundation
International Artist Residency
Immersive, 3D, Metaverse Experience
Concept, Creation, Production, Direction

  • Abstract Chatter is an immersive metaverse installation created during a digital artist residency with Loop Art Critique and the MUD Foundation. Built on the OnLand platform, the project explores the transitional space between familiar reality and emerging metaverse environments.

    Grounded in real-world physics but breaking them through floating sculptures and thin digital panels, the space invites visitors to experience how technology reshapes perception. Sound design tied to proximity adds tension and depth, reinforcing themes of force and boundary.

    The installation includes three one-of-a-kind NFTs and a collection of 99 unique frames, each generated through randomized layering techniques using After Effects, Illustrator, and Photoshop. All pieces are available for acquisition, offering collectors a bridge between procedural creation and curated digital presence.

    Abstract Chatter examines how early virtual spaces mimic the real before evolving into something entirely their own.

INFINITE

GRADIENT EVOLUTION

WITH SPINNING CROSSES

Tuttle Gallery Exhibition
Independent Project
Generative Art Script

Infinitely Evolving Gradient with Grid of Spinning Crosses is characterized by its continual evolution, driven by a tailored program script. The mechanism behind this transformation is a randomized generator, determining the subsequent color gradations for both the upper and lower sections of the browser display. Contrasting this dynamism, the "crosses" serve as a consistent visual anchor. Their hue remains unaltered, but they are algorithmically set to rotate at a uniform velocity.

A notable element arises from the inherent constraints of technology: RAM restrictions of the operating system or browser may occasionally induce a stutter or speed ramp in the rotation. This unintentional effect, rather than detracting from the experience, adds a layer of introspection — highlighting the limitations of digital mediums. For some, including myself, these moments of technological vulnerability become the most captivating aspect of the piece, emphasizing the intersections of design intention and technological imperfection.

exhibition photography by Mandy Wolfe

PRIMARY

DIVISIONS

web
interactive
generative
nft collection

Primary Divisions is a collection of 100 images that explores the intersection of generative art and foundational artistic principles. Utilizing a tailored generative script, each piece is derived through a systematic process that randomizes line lengths and angles. The collection emphasizes the primary colors: red, blue, and yellow. These are integrated as gradient strokes and distinctive fills, anchored by semi-transparent backgrounds of the same hues. This approach is a nod to the rudimentary elements of art and their enduring significance. With a total of 100 pieces, Primary Divisions provides an analytical lens into the potential of combining algorithmic methods with core artistic tenets.

COORDINATED

AGREEMENTS

web
interactive
generative
nft collection

Coordinated Agreements provides an academic examination into the potential intersections of algorithmic processes and traditional artistic principles. By focusing on the line as a primary element, the project underscores the significance of foundational artistic components in contemporary generative art practices.

The collection comprises 97 randomly generated images. Each image is produced using a script that establishes a grid pattern made up of small points. These points are subsequently connected to a randomly designated point, creating a thin, black line from each the grid’s points to the singular random point. The piece works as an exercise in gaining a deeper understanding of the underlying geometric structure and potential within two-dimensional spaces.

The 97 unique images will be released as an NFT collection in the near future.

selection of 10 random images from collection of 97

An additional component of the Coordinated Agreements project is its interactive website. An adapted version of the project responds to user mouse movements, with lines dynamically adjusting based on cursor position. This interactive dimension serves as a real-time representation of the foundational script, offering users direct engagement with the generative process.

An embedded version of the site can be found directly below. To engage, move mouse cursor within the box. If viewing on mobile, then simply tap to generate a point.

click or tap to interact

LOST IN

TRANSMISSION

interactive sound sculpture 
- found objects 
- custom cassette tape loops 
- custom recorded audio 
- custom built audio pedal and mixer 
- custom built sculpture.

  • Lost in Transmission is an interactive sound sculpture composed of found objects and obsolete technologies, evoking a world where stranded individuals repurpose archaic equipment to signal their existence. The structure is built from weathered pallet wood, forming a network of shelves that hold dismantled, found speakers—some without casings—attached with visible speaker wire. These speakers play continuous loops of abstract glass taps and a melodic orchestral sample, recorded and manipulated on custom tape loops. The piece’s sound is always running, creating a background mechanical hum and fuzz. Only when a viewer steps on a pedal does the intricate audio become audible, revealing the layered sonic textures. A small military case at the base houses power elements and adds a sense of found purpose, as if salvaged from a forgotten outpost. Lost in Transmission invites audiences to contemplate themes of identity, isolation, and the human need to communicate across technological and temporal divides.

IMPRESSION/

VISION

interactive media + dance performance

- custom programming of 3D scanner
- custom video effects
- custom controller
- original choreography + performance by Kara Senich Zimmerman

  • Impression/Vision is an interactive performance installation created in collaboration with accomplished dancer and choreographer Kara Senich Zimmerman. The piece explores perception, embodiment, and mediated feedback through the integration of dance, live video capture, and real-time projection. Using an Xbox Kinect and a custom-built Max/MSP patch, the dancer’s movements were tracked and processed into layered, ghosted video imagery that was projected back onto her body and the surrounding space. As the live camera operator, I functioned as a second performer—framing, responding to, and manipulating the visual composition in real time. The projections shifted based on both the dancer’s motion and the camera’s choreography, creating a recursive feedback loop between presence, image, and system. Impression/Vision invites audiences to consider the aesthetics of digital embodiment and the tension between agency and representation in mediated environments.