Annemarie Jiménez is a visual artist based in northern Germany, working in watercolor, colored pencil, graphite, and ink. ​ Her work returns again and again to the human body in fragments - an eye, a hand, a foot, an organ - vulnerability made visible through the parts that usually stay hidden. Around these figures: invented and observed plants, spiritual symbols of transformation, elements borrowed from nature and ritual. Eyes appear without pupils; the gaze they hold is lost, lonely, void. The people in her work seem to come from another time or world - ancestors perhaps, adorned with the living and the remnants of it, blurring the line between ceremony and everyday life. The German word Schwelle - threshold - names the terrain she works in: the edge where a body ends and the living world begins, and where the distinction stops mattering.

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She trained in business administration and worked for years as a consultant. In 2014 she returned to art and began serious study - private courses with established artists, self-directed work, and a weekly life drawing practice she has now kept for ten years. Since 2022 she has painted full-time from a home studio at the edge of a forest, alongside raising two children. Everything else comes from continuous observation - in nature, of people, of what we touch and what we can't touch. Wandering through forests and wild places has been her sanctuary and source since childhood, the space where ideas transform and become tangible.

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She treats her process as something to share rather than guard. Sketchbooks belong in the gallery next to the finished pieces; half-formed ideas, reworked passages, and the decisions behind a painting are part of the conversation, not kept behind the studio door. What she hopes for is something that travels - that a viewer leaves more willing to look deeper, to feel honestly, to be themselves, and, in doing so, becomes a spark for someone else in turn.

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Her work has been exhibited at La Luz de Jesus Gallery and Hive Gallery in Los Angeles, Arte Aparte in Spain, Brassworks Gallery in Portland, and GEDOK Hamburg, of which she is a member. Her paintings move between gallery walls, private collections, books, and editorial pages - different rooms for the same practice.

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She is wary of the claim that painting is healing, though she understands why artists make it. Her interest lies in quieter questions: What does a person look like when no one is watching them perform? What changes when we stop standing apart from the living world and allow ourselves to belong in it? And what is left of us, finally, when we let ourselves feel, grieve, and simply be?