"Again, Rimmington has referred to images from various editions of the French publication Le Magasin Pittoresque. She has lifted three antique engravings depicting a marble statue of Polyhymnia (1840, 337) the Greek muse, an Indigenous Hawaiian mask (1843, 293) and a depiction of the folk tale The Old Man with Two Flutes after Gerard Seguin (1843, 81). Rimmington directly copied these onto paper and spliced them together to create an entirely new image."
       "The oceanic sublime relates to that feeling of dipping one’s head under water - submergence in total quiet and stillness – a womb-like place that one might associate with the afterlife, or even, death. In Washed in Lethe (1938) Rimmington gestures to these theories, depicting one of the five rivers of the underworld of Hades: a physical manifestation of death and oblivion. According to the myth, consuming water from the Lethe would cause the drinker to forget their past, or their time in the earthly realm (Weinrich 2004, 27). Taking three striking, antique engravings, copying them in pencil and watercolour and splicing them together (in what Elza Adamowicz might refer to as a “false-collage” technique) Rimmington creates a completely new, classically influenced image, which reconceptualises the Greek legend (Adamowicz 1998, 18). Chadwick, in Women Artists and the Surrealist Movement, argued that this watercolour depicts a “mental odyssey” as “a descent into the depth of the sea” (Chadwick 1991, 212). Again, Rimmington draws connections between the expanses of the mind, and the seemingly endless abyss of deep water, but in this image such oblivion and abeyance become metaphors for life beyond consciousness."

-Tor Scott, Surrealism and Ecology, Vernon Press, p. 115 (forthcoming)