The musical title is precise and playful in equal measure: a sonata implies structure, development, and resolution; B sharp is an enharmonic note, technically distinct from C natural but sounding identical, a musical pun embedded in the title of a painting about a jungle that is both specific and invented. Zimmerman's jungle canvases, developed across twelve years of painting journeys to Kauai, have always operated in this double register: real vegetation rendered with botanical authority, and an imagined landscape organized by pictorial rather than geographic logic.
This canvas carries the full chromatic range of his mature jungle work: the deep blues and greens of dense canopy, the warm punctuations of flower and fruit, the structural clarity of bold leaf forms that his woodcut training gave him the means to state with confidence. Zimmerman works in clay and paint simultaneously, each practice sharpening the other, and the sculptural presence of these botanical forms, each one occupying its space with three-dimensional conviction, reflects a maker who understands form from the inside. The sonata resolves into a painting of sustained botanical music.
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