In the 1980s while pursuing his Masters in Baroda, Rimzon was attempting to break from the monolithic sculptural traditions dominant in India, exploring multi part installations that liberated his practice and his language for sculpture. Detaching himself from the narrative school of Baroda, but not having yet subscribed to the conceptualism and minimalism of the West, Rimzon released his work from a single anchor and presented multiple points of entry, experience and interpretation for viewers to forge their own. Thousand stories and a cloth bundle (1986) was created during moment of political transition and turmoil, with frequent violence and shutdown of their campus. The work encapsulated the tension and angst permeating the environment.
 
Being away from India for the first time while at the Royal College of Art in London from 1987-89, and untethered from cultural inertia, Rimzon steered frequently to a state of introspection. Channeling those journeys into his works Rimzon remarked, “Objects react with the unconscious from where the images emerge. There is no rationality here. I want my objects to hit your soul.”  In his work Port from Malabar (1987), created while at The Royal College, Rimzon imbues a tension within seemingly contrasting parts, eliciting precariousness and balance, violence and stillness. During this period, he was also introduced to the transformative power of the medium through work of Beuys and Arte Povera.

Rimzon continues to work our senses in a myriad of ways with his most recent sculptures. Vessel for the blue (2025) draws upon Ayurveda, a widely practiced healing and holistic way of being in his native Kerala. Cast in bronze, steps lead to an immersion tank filled with herbs, for cleansing and a path to the divine. Adjacent to the rectangular tank sits a long-rounded form which seems to echo the entirety of the cosmos. Its simplicity and compassion, constructs of Buddhism underlies this new work, as in the Miracles on the wind (2025) in which a bronze figure sitting by the side of a river of turmeric, with hands clasped and raised to the sky, seems to beckon the divine.

In Rimzon’s paintings and drawings, a keen attention to structure and color is paired with simple, recognizable forms that deftly steer away from any specific narratives. Instead, shrouded in mystery, they provoke a deep emotional and intellectual response.

Central to Rimzon’s practice is his ability to create works that are not just visually compelling but also thought-provoking. Often juxtaposing the idea of the exposed and hidden, they create environments that challenge the viewer’s understanding of space and the physical world. Open ended and charged they invite reflection and encourage a deeper consideration of how art can engage across boundaries of society, culture, religion, geography and time.