Snake Grass IV,
glazed ceramic
127 x 64,5 x 47 cm
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Snake Grass IV,
Stilt House I,
glazed ceramic
44 x 35 x 35cm
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If We Dissolve Now / We Are More Than We Ever Were V,
polaroid
10,7 x 8,9cm
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If We Dissolve Now / We Are More Than We Ever Were IV,
polaroid
10,7 x 8,9cm
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If We Dissolve Now / We Are More Than We Ever Were I,
polaroid
10,7 x 8,9cm
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Nr. 489,
gouache on paper
18 x 12 / 28,5 x 23 cm (framed)
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Südpark,
fabric, thread
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Tuch (SAAL),
fabric, thread
122 x 97cm
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Nr. 479,
gouache on paper
70 x 100
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Metamorphosis (Jacques Couëlle) II,
ceramic, glaze
42 x 110 x 52 cm
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Metamorphosis (Jacques Couëlle) I,
ceramic, glaze
42 x 110 x 50 cm
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Curtain (COMPOST),
fabric, pearls
295 x 500 cm
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Nr. 471,
gouache on paper
70 x 100cm / 79 x 109 x 4cm (framed)
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false ruins and lost innocence 1,
ceramic, glaze, plinth
104 x 80,5 x 122 cm (work) 50 x 160 x 110 cm (plinth)
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Vorhang (Höhenweg) 1&2 ,
satin curtain
416 x 900cm (1), 416 x 900cm (2)
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Nr. 465,
gouache on paper
70 x 100cm / 79 x 109 x 4cm (framed)
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Tree Trunk (Apollo Pavilion),
ceramic, glaze, plinth
45 x 83 x 62 cm
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Survival Bag,
mummified cactus, fabric
130 x 30 x 30 cm
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Neon-West,
concrete, ceramic, glaze
concrete elements: 15 x 82.5 x 15 cm each, ceramics: 13 x 82.5 x 13 cm each
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Peene Valley,,
ceramic, glaze, plinth
71 x 37 x 35 cm
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Afterlife,
ceramic, glaze, plinth
52 x 42 x 35 cm
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Communicaten with the rotten Past XII,
ceramic, glaze
70 x 50 x 39 cm
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Kazuo Shinohara House,
ceramic, glaze
59 x 55 x 36 cm
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Vorhang (Slothrop),
fabric, thread, digital print on voile, curtain
300 x 350 x 30cm (three parts)
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Tuch (Plan3),
fabric, pearls, sewing thread
34 x 30,5cm
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Facekini,
fabric, pearls, MDF
30 x 18 x 18cm (mask) 131 x 25 x 24cm (pedestal)
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Nr. 457,
gouache on paper
18.5 x 14cm
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South Wall / Gargoyle,
reinforced concrete, glazed ceramic
180 x 100 x 460 cm
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Matsutake,
ceramic, glaze
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Bachgurken,
ceramic, glaze
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Walherz,
ceramic, glaze
80 x 80 x 120 cm
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Hochhaus 6, 5 und 4,
ceramic, glaze
50 x 15 x 15 cm, 43 x 13 x13 cm, 50 x 12 x12 cm
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Curtain (Moon),
fabric, thread
320 x 300cm
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Nr. 444,
gouache on paper
32 x 24cm
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Communication With The Rotten Past VII,
ceramic, glaze
74,5 x 75,5 x 66,5 cm
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Wasserballett für Marl,
Video
7:48 Min.
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Communication With The Rotten Past V,
ceramic, glaze, powder-coated metal
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Nr. 435,
gouache on paper
19,5 x 20.5 cm
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Bacteria,
ceramic, glaze
18 x 27 x 20 cm
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Communication With The Rotten Past II,
ceramic, glaze, powder-coated metal
43 x 67 x 65 cm (ceramic), 110 x 68 x 58 cm (plinth)
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Communication With The Rotten Past I,
ceramic, glaze, powder-coated metal
55 x 63 x 49 cm, 110 x 58 x 40 cm (plinth)
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Ceramic II,
ceramic, glaze
38 x 28 x 29 cm
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Haus Bar IV,
ceramic, glaze
10 x 34 x 37 cm
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Ceramic III,
ceramic, glaze
35 x 25 x 23 cm
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Possibility Of A Ruin VI,
reinforced concrete, ceramic, pedestal
150 x 50 x 51 cm
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Nr. 405,
gouache on paper
24 x 17 cm
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Possibility Of A Ruin IX,
reinforced concrete, ceramic, pedestal
150,5 x 50 x 50 cm
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Land aus Glas ,
wood, glass, silicone, plexiglass, tin, fabric, thread, pearls, sewing thread, ceramic
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Rettilario,
fiberglass reinforced concrete, ceramic
21 x 38 x 55 cm
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Casa Mastroianni,
fiberglass reinforced concrete, ceramic
25 x 32 x 40 cm
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Hyperboloïde IV,
sewing thread, nails
variable
Trekking Mask VI,
fabric, cushion batting, wire, thread
45 x 45 x 17cm
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nr. 343,
gouache on paper
42 x 56 cm
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Nr. 338,
gouache on paper
24 x 17 cm
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We are concrete We are bodies We have sex We are neoretroactive We are relative ,
reinforced concrete, plants
Insecta VII,
fabric, cushion batting, thread
24 x 26 x 17 cm
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Nr. 337,
gouache on paper
24 x 17 cm
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Tea and Coffee Piazza d’Italia in Post-Katrina Times,
reinforced concrete, ceramic
45 x 205 x 70 cm
Times are hard but Postmodern (Shelf 1) ,
wood, ceramic
28 x 125 x 90 cm
Print/Permalink: http://isamelsheimer.com/works/times-are-hard-postmodern-shelf-1
Gebäude der Vorhersage, Gebäude der Erinnerung,
fiberglass grid reinforced concrete, plants
20 x 25 x 30 cm, 50 x 55 x 35 cm, 35 x 140 x 35 cm
Nr. 331,
gouache on paper
42 x 56 cm
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Nr. 326,
gouache on paper
32 x 24 cm
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Nr. 318,
gouache on paper
36 x 48 cm
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Nr. 311,
gouache on paper
50 x 70 cm
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Nr. 313,
gouache on paper
50 x 70 cm
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Postmoderne Ruine,
fibrous grit reinforced concrete, porcelain
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Wardsche Kasten (Lissabon) ,
reinforced concrete, glas, ground, seeds, plants
43 x 60 x 36 cm
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Tuch (Variscit),
fabric, thread
72 x 65 cm
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Tuch (Indigo),
fabric, thread
80 x 70 cm
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0-Houses,
glass, silicone, polycarbonate, fabric, thread, wool, reinforced concrete, styrofoam
The starting point for her installation for 30 Artists / 30 Spaces is the diary-like novel, The Box Man, written by Japanese author Kôbô Abe in 1973, whose protagonist bids farewell to his present life to move into a box, into a mini-universe 50 x 50 cm in size, which gradually mutates into the real universe in which the box man can take up a position of observation, unnoticed and uninhibited. He draws up a new, private cartography of the city and makes classifications based on opportunities and probabilities. This life in the city of the nameless may be limited, but it is also liberating. Isa Melsheimer visualises and processes various fragments of this story in her installation, she presents – cast in concrete – the possessions of the box man and a curtain which can con- ceal the inaccessible urban landscape, a sea of houses made of glass. ( Dr. Melitta Kliege )
Print/Permalink: http://isamelsheimer.com/works/0-houses
Nr 291,
gouache on paper
42 x 56 cm
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Garten für einen glücklosen Schatten,
scaffold, wood, acrystal, fibreglass fabric, reinforced concrete, foam, glass, silicone, polycarbonate, plants, paint, sewing thread, nails, fabric, pearls
Exhibition view, MUDAM Luxembourg
Exhibition view, MUDAM Luxembourg
within the exhibition MONDES INVENTÉS, MONDES HABITÉS
08/10/2011 - 15/01/2012
Nr. 279,
gouache on paper
40 × 30 cm
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Nr. 278,
gouache on paper
40 × 30 cm
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Loos, Zimmer der Dame, Panic Room,
serpentinit levanto rosso, mirror, lamp, rescue blanket, fabric
175 × 180 × 62 cm
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Loos, Josephine Baker and other Cyborgs,
glass, concrete, polystyrene, tin
110 × 120 × 50 cm
Loos, das Gesetz der Bekleidung, gegen den Surrogaten,
fabric, pearls, sewing thread, thread
350- 400 × 345 cm
Dachgarten/ Raum,
concrete, metal, cypress
90 × 54 × 40,5 cm
Print/Permalink: http://isamelsheimer.com/works/dachgarten-raum
Dachgarten/ Treppe,
concrete, metal, sempervivum
57,5 × 50,5 × 21 cm
Print/Permalink: http://isamelsheimer.com/works/dachgarten-treppe
Beistégui,
fabric, thread
145 × 330 cm, 143 × 330 cm
Print/Permalink: http://isamelsheimer.com/works/best%C3%A9gui
Inhabitant,
mirror, metal, tin, padded cockatiel
29 × 20 × 25 cm
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Light,
wax, veneered particle board
38 × 16 × 19,5 cm
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Map,
fabric, thread
57,5 × 57,5 cm
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Ungeliebte Pflanzen,
plants
Exhibition view at Forstgarten Kleve, Museum Kurhaus Kleve
Exhibition view at Forstgarten Kleve, Museum Kurhaus Kleve
within the exhibition “Blickwechsel”
Ungeliebte Pflanzen
von Valentina Vlasic
Kleve war Isa Melsheimer praktisch unbekannt – abgesehen davon, dass es die Heimatstadt von Joseph Beuys ist. Obwohl sie im nahen Neuss geboren wurde, hat die Wahlberlinerin zum Niederrhein keinen besonderen Bezug. Nur 1997 war sie einmal in Kleve, um das neu eröffnete Museum Kurhaus Kleve zu besuchen. Doch bis auf das Museum für zeitgenössische Kunst blieb ihr die Stadt mit ihrer Geschichte und den Gepflogenheiten ihrer Bürger weitgehend verborgen. Als sie 2010 eingeladen wurde, das Projekt „BLICKWECHSEL“ in Kleve zu realisieren, näherte sie sich der Stadt neutral und unvoreingenommen. Isa Melsheimer thematisiert in ihrer Arbeit oft Aspekte der Wohnkultur. Sie nimmt Bezug auf Spezifika des Ortes und macht deren Quintessenz deutlich, die sie poetisch umsetzt und kritisch beleuchtet. Für BLICKWECHSEL besuchte sie Kleve im März 2010 und stellte spontan eine Verbindung zur Landschaftsarchitektur dar. Sie lief die historische Tiergartenstraße ab – ein letztes Überbleibsel der historischen Badestadt Cleve, das die Zerstörungen des Zweiten Weltkriegs überstanden hat – und sah die gepflegten Vorgärten und bereits blühenden Pflanzkübel. Ihr fiel auf, dass trotz der frühen Jahreszeit die Rasen fein säuberlich gemäht, die Hecken beschnitten und die Blumenbeete bepflanzt waren. Intuitiv erkannte Isa Melsheimer die Bedeutung der Gärten und der Natur für die Menschen in Kleve. Sie erfuhr, dass die besondere Affinität der Klever zu ihrem Gartenraum aus der langen Tradition der Landschaftsarchitektur herrührt. Der kunstsinnige Fürst Johann Moritz von Nassau-Siegen machte während seiner Statthalterschaft Mitte des 17. Jahrhunderts aus Kleve ein Gesamtkunstwerk aus Gärten und Stadtgebiet, das ihr ein völlig neues Aussehen verlieh. Mit dem Architekten Jacob van Campen schuf er ein weit verzweigtes System von Alleen, Kanälen und Sichtachsen, das die Stadt von Westen, Osten und Süden umfasste und Ebenen, Hügel und Waldgebiete mit einbezog. Johann Moritz konzipierte die Parkanlagen für die Öffentlichkeit und legte das Fundament für die spätere Weiterentwicklung Kleves. Ohne sie wäre im 18. Jahrhundert nicht der Kurort „Bad Cleve“ entstanden, der Besucher aus nah und fern anzog und bis zum Beginn des 20. Jahrhunderts das wirtschaftliche Rückgrat der Stadt darstellte.
Mit diesem Hintergrund realisiert Isa Melsheimer für BLICKWECHSEL eine Installation in den historischen Parkanlagen. Dafür benutzt sie Zierpflanzen, die sie als Spende nach einem Aufruf im Freundeskreis der Klever Museen erhalten hat. Sie will keine intakten Blumen und Gewächse verwenden, sondern die „ungeliebten Pflanzen der Stadt“, die zum Sommerende hin in vielen Haushalten anzutreffen sind. Sie bemüht sich um Pflanzen, die krumm, welk oder von Pilzen befallen sind. Sie zielt auf Pflanzen ab, die nicht richtig wachsen, die zu groß oder zu klein sind oder die schlichtweg aus der Mode gekommen sind und als unschön empfunden werden. Diese „ungeliebten Pflanzen“ sammelt Isa Melsheimer ein und setzt sie auf einer Insel im Forstgarten gegenüber dem Museum Kurhaus Kleve aus. Indem sie eine Arbeit in den historischen Parkanlagen realisiert und sich dabei auf das Unschöne und Ungeliebte konzentriert, analysiert Isa Melsheimer die Alltagskultur Kleves. Als Grundlage für ihre Arbeit dienen ihr einzelne Zier- und Topfpflanzen, die sie auf einer Gesamtkonstruktion arrangiert. Hinter jeder Pflanze steht ein individuelles Schicksal, jede Pflanze wird zum Zeugnis gesellschaftlicher Ambivalenz. Sie thematisieren Kultiviertheit, Ordnungsliebe, Hässlichkeit und Einsamkeit gleichermaßen. Die eingegangenen Pflänzchen verweisen auf Leben und Tod, auf Vergehen und Verdrängung. Isa Melsheimer ist dabei nie sentimental, aber ungeheuer poetisch und menschlich. Dadurch, dass sie Zierpflanzen verwendet, ruft sie im Betrachter Geborgenheit hervor, durch das nicht intakte Äußere Verwahrlosung und Unsicherheit.
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Gaststätte Inselparadies,
concrete, metal, ink- jet printing, gouache on paper
53 × 60 × 60 cm, 29,7 × 21 cm, 42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/gastst%C3%A4tte-inselparadies
Battle Lines 2,
fabric, thread
125 × 190 cm
Print/Permalink: http://isamelsheimer.com/works/battle-lines-2
Battle Lines 1,
fabric, thread, copy
fabric: 150 × 200 cm, copy: 29,5 × 21 cm
....
Like all colonists, Le Corbusier does not think of it as an invasion but as a gift. When recapitulating his life work five years before his death, he symptomatically wrote about Algiers and Cap Martin in the same terms: From 1930 L-C devoted twelve years to an uninterrupted study of Algiers and its future ... Seven great schemes (seven enormous studies) were prepared free of charge during those years. And later,1938-39. Eight mural paintings (free of charge) in the Badovici and Helen Grey house at Cap Martin.38 No charge for the discharge. Eileen Gray was outraged, now even her name had been defaced. And renaming is, after all, the first act of colonisation. Such gifts can not be returned.
P.S. In 1944, the retreating German Army blew up Eileen Gray’s apartment in Menton having vandalised E. 1027 and Temple a Paiella (her house in Castellar). She lost everything. Her drawings and plans were used to light fires.
P.P.S. On August 26, 1965, the endless redrawing of the Femmes d’Alger still unfinished, Le Corbusier went down from E. 1027 to the sea and swam to his death.
P.P.P.S. In 1977 a local mason in charge of some work in the house “mistakenly” demolished the mural Graffitte.39 I like to think that he did it on purpose. Eileen Gray had spend almost three years living on the site in complete isolation, building the house with the masons, having lunch with them every day. Then again, she did the same thing when building her own house at Castellar. The masons knew her well; in fact, they loved her, and hated the arrogant Badovici. They understood perfectly what the mural was about. They destroyed it. In so doing, they showed more enlightenment than most critics and historians of architecture.
P.P.P.P.S. Since then, the mural has been reconstructed in the house from the basis of photographs. It re-emerged from its original medium.The occupation continues.
(Battle Lines: E.1027, Beatriz Colomina)
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Killer,
fabric, wool, pearls, sewing thread, wire
107 × 41 cm
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Gold Coast,
fabric, pearls, sewing thread, wire
68 × 49 cm
Print/Permalink: http://isamelsheimer.com/works/gold-coast
Entrance,
plants, fluorescent lamps, plastic bottles
variable
Print/Permalink: http://isamelsheimer.com/works/entrance
Stern/ Rostock/ Riga,
concrete, metal, polyurethane foam
40 × 40 × 304 cm
Print/Permalink: http://isamelsheimer.com/works/stern-rostock-riga
Scharoun kleiner Saal,
glass, silicone, polycarbonate
30 × 44 × 38 cm
Print/Permalink: http://isamelsheimer.com/works/scharoun-kleiner-saal
Scharoun großer Saal,
glass, silicone, polycarbonate
40 × 38 × 49 cm
Print/Permalink: http://isamelsheimer.com/works/scharoun-gro%C3%9Fer-saal
Rügen,
porcelain, concrete
variable
Print/Permalink: http://isamelsheimer.com/works/r%C3%BCgen
Rastplatz,
concrete, metal
116 × 50 × 50 cm, 46 × 50 × 50 cm
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My case,
fabric, thread, plastic foil, rubber boots
187 × 110 cm
My Case
This is the record of a box man. I am beginning this account in a box. A cardboard box that reaches just to my knees when I put it on over my head. That is to say, at this juncture the box man is me. A box man, in his box, is recording the chronicle of a box man.
(Kobo Abe, The Box Man)
Print/Permalink: http://isamelsheimer.com/works/my-case
Kissen,
concrete, metal, fabric, thread
43 × 65 × 30 cm, 80 × 78,5 cm
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Isler,
concrete, metal, gouache on paper
10 × 34 × 22 cm, 8 × 46 × 46 cm, 14 × 71 × 42 cm, 42 × 46 cm
Print/Permalink: http://isamelsheimer.com/works/isler
Hyperboloïde III,
sewing thread, nails
variable
Print/Permalink: http://isamelsheimer.com/works/hyperbolo%C3%AFde-iii
Holzgitterschale/ Rügen,
glass, silicone, plastic sheet, fabric, thread, concrete fibre reinforcement
variable
Print/Permalink: http://isamelsheimer.com/works/holzgitterschale-r%C3%BCgen
Glasarchitektur Kap. I, XVIII, XXIII, XCIV, XCIII,
fabric, thread, pearls, sewing thread
ca. 150 × 150 cm
We live for the most part within enclosed spaces. These form the environment from which our culture grows. Our culture is in a sense a product of our architecture. If we wish to raise our culture to a higher level, we are forced for better or for worse to transform our architecture. And this will be possible only if we remove the enclosed quality from the spaces within which we live. This can be done only through the introduction of glass architecture that lets the sunlight and the light of the moon and stars into our rooms not merely through a few windows, but simultaneously through the greatest possible number of walls that are made entirely of glass —coloured glass. The new environment that we shall thereby create must bring with it a new culture.
( Paul Scheerbart, Glasarchitektur )
Box I ,
fabric, thread, pearls, sewing thread
209 × 191 cm
If A made any error it was only that he was a little more overly aware of box men than others were. You cannot laugh at A. If you are one of those who have dreamed of, described in their thoughts even once, the anonymous city that exists for its nameless inhabitants, you should not be indifferent, because you are always exposed to the same dangers as A-that city where doors are opened for anyone; where even among strangers you need not be on the defensive; where you can walk on your head or sleep by the roadside without being blamed; where you are free to sing if you're proud of your ability; and where, having done all that, you can mix with the nameless crowds whenever you wish. Thus it will seldom do to point a gun at a box man.
(The Box Man, Kobo Abe)
Print/Permalink: http://isamelsheimer.com/works/box-i
Bergstadt,
glass, silicone, polycarbonate
48 × 110 × 85 cm
Print/Permalink: http://isamelsheimer.com/works/bergstadt
Blondie,
fabric, pearls, sewing thread, plexiglass
227 × 40 cm
Print/Permalink: http://isamelsheimer.com/works/blondie
Nr. 251,
gouache on paper
42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/nr-251
Nr. 250,
gouache on paper
42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/nr-250
Nr. 249,
gouache on paper
42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/nr-249
Nr. 248,
gouache on paper
24 × 32 cm
I went home full of sad thoughts. My feelings of humanity towards the beast had made me cruel to the man. What a strangely constructed machine is the world, in which one cannot do a kind action to one creature without causing pain to another. Thinking thus, I reached the Rue de l'Universite, climbed to my rooms on the third floor and laid down my new purchase on the carpet. It was just a turtle of the commonest sort testudo lutarta, sive aquarum dulcium ; which means, according to Linnaeus among older writers, and Kay among more modern, marsh or fresh-water turtle.* Now, in the social order of the chelonians, the marsh or fresh-water turtle holds pretty much the same rank as that occupied in our civil society by grocers, or in the military oligarchy by the National Guard. For all that, it was the very strangest and most peculiar turtle that ever pushed four legs, a head, and a tail through the holes of a shell. No sooner did the creature feel herself on the floor, than she gave me a proof of her originality by making a bee-line for the fireplace with a speed which earned her on the spot the name of Gazelle, and then doing her best to force herself through the bars of the fender so as to reach the fire, the light of which seemed to have an irresistible attraction for her. Finally, at the end of an hour's fruitless endeavours, finding her attempt to reach it a hopeless failure, she quietly went to sleep, first extending her head and limbs through the apertures nearest to the blaze, thus choosing, for her special delectation, a temperature of from ninety to a hundred degrees Fahrenheit, as nearly as I could judge. This led to the conclusion that either by vocation or fatality she was destined one day to be roasted; thus it seemed that, by saving her from my Englishman's stewpan am making her an inmate of my room, I had only exchanged one method of cooking her for another. The sequel will show that I was not mistaken in my forebodings.
* It is well known that reptiles are divided into four classes. In these the chelonians or turtles take the first place, the saurians or lizards the second, the ophidians or serpents the third, and lastly the batrachians or frogs the fourth.
(Captain Pamphile, Alexandre Dumas )
Print/Permalink: http://isamelsheimer.com/works/nr-248
Tuch VI,
fabric, thread
66,5 × 89 cm
Print/Permalink: http://isamelsheimer.com/works/tuch-vi
Terrasse,
concrete, indoor plants, heat lamps, plant lamps
800 × 400 cm
Print/Permalink: http://isamelsheimer.com/works/terrasse
Stern/ Taschkent,
wood, polystyrene hard foam, fabric, upholstery batting, quartz plaster, acrylic
38 × 190 × 190 cm
Print/Permalink: http://isamelsheimer.com/works/stern-taschkent
ohne Titel,
concrete, foam
38,5 × 76 × 46 cm
Print/Permalink: http://isamelsheimer.com/works/ohne-titel
Luckhardt 1,
glass, silicone, plexiglass
43 × 76 × 50 cm
Print/Permalink: http://isamelsheimer.com/works/luckhardt-1
Hablik 3,
glass, tin
68 × 49 × 51 cm
Print/Permalink: http://isamelsheimer.com/works/hablik-3
Hablik 2,
glass, tin
52 × 40 × 36 cm
Print/Permalink: http://isamelsheimer.com/works/hablik-2
Das Durchdrehen der Schraube,
fabric, thread
105 × 77 cm
Print/Permalink: http://isamelsheimer.com/works/das-durchdrehen-der-schraube
Alice,
Bravo poster, fabric, thread
62 × 45 cm
Print/Permalink: http://isamelsheimer.com/works/alice
B9,
wood, polysterene hard foam, quartz plaster, acrystal, fluorescent lamps, foam, upholstery batting, acrylic paint
bucket 1-4: ca. 60 × 80 × 85 cm, house: 72 × 125 × 65 cm, cliff: 66 × 65 × 65 cm
Print/Permalink: http://isamelsheimer.com/works/b9
Vorhang (Nördlicher Raum),
fabric, thread, curtain rail
240 × 260-560 cm, two parts
Print/Permalink: http://isamelsheimer.com/works/vorhang-n%C3%B6rdlicher-raum
Umzug,
6 mattresses, thread
90 × 140 × 100 cm
Print/Permalink: http://isamelsheimer.com/works/umzug
Vorhang (sinkhole),
fabric, thread, pearls, sewing thread, ink- jet printings
350 × 200 cm
Print/Permalink: http://isamelsheimer.com/works/vorhang-sinkhole
Rödig,
car tyre, wood, earth, wire, 10 pieces
variable
Print/Permalink: http://isamelsheimer.com/works/r%C3%B6dig
Oui,
knit pullover, wool
30 × 30 × 30 cm
Print/Permalink: http://isamelsheimer.com/works/oui
Loch II (kleines Mädchen),
fabric, thread, pearls, sewing thread
68 × 77 cm
Print/Permalink: http://isamelsheimer.com/works/loch-ii-kleines-m%C3%A4dchen
Loch I (Frau Wu und Herr Wang),
fabric, thread
70 × 80 cm
Print/Permalink: http://isamelsheimer.com/works/loch-i-frau-wu-und-herr-wang
Concrete Garden,
reinforced concrete, mirror, wood, paint, polystyrol hard foam, acrystal
240 × 450 × 150 cm
Print/Permalink: http://isamelsheimer.com/works/concrete-garden
angewittert,
uncut travertine, fabric, thread, pearls, sewing thread
160 × 225 × 35 cm
Print/Permalink: http://isamelsheimer.com/works/angewittert
angewittert (Schrei),
uncut travertine, fabric, thread, pearls, sewing thread, foam
162 × 234 ×22 cm
Print/Permalink: http://isamelsheimer.com/works/angewittert-schrei
Tuch V,
fabric, thread
119 × 107 cm
Print/Permalink: http://isamelsheimer.com/works/tuch-v
Tuch IV,
fabric, thread
128 × 100 cm
Print/Permalink: http://isamelsheimer.com/works/tuch-iv
Treppenhaus,
wood, foam, fabric, thread
25 × 60 × 118 cm
Print/Permalink: http://isamelsheimer.com/works/treppenhaus
Tiefes Rauschen,
fabric, thread, pearls, sewing thread
400 × 300 × 300 cm
Print/Permalink: http://isamelsheimer.com/works/tiefes-rauschen
Salton Sea,
wood, mirror, varnish, polystyrol hard foam, acrystal
65 × 110 × 90 cm
Print/Permalink: http://isamelsheimer.com/works/salton-sea
ohne Titel (Pullover),
knit pullover, wool
35 × 35 × 35 cm
Print/Permalink: http://isamelsheimer.com/works/ohne-titel-pullover
Mulholland,
fabric, thread, pearls, sewing thread, concrete, foam, polystyrol hard foam
fabric: 157 × 106 cm, object: 65 × 52 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/mulholland
LA River,
wood, foam, glass, mirror, fabric, thread, acrystal
60 × 150 × 90 cm
Print/Permalink: http://isamelsheimer.com/works/la-river
Hyperboloïde,
sewing thread, nails
variable
Print/Permalink: http://isamelsheimer.com/works/hyperbolo%C3%AFde
Nr.209,
gouache on paper
42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/nr209
Nr.207,
gouache on paper
42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/nr207
Nr.190,
gouache on paper
24 × 30 cm
Print/Permalink: http://isamelsheimer.com/works/nr190
Nr.189,
gouache on paper
24 × 30 cm
Print/Permalink: http://isamelsheimer.com/works/nr189
Nr.188,
gouache on paper
24 × 32 cm
Print/Permalink: http://isamelsheimer.com/works/nr188
Nr.187,
gouache on paper
24 × 32 cm
Print/Permalink: http://isamelsheimer.com/works/nr187
Gebäude (Brandwand),
concrete, chicken wire, polystyrol hard foam
43 × 58 × 57 cm
Print/Permalink: http://isamelsheimer.com/works/geb%C3%A4ude-brandwand
Gebäude,
concrete, mirror,acrystal, polysterene hard foam
building: 65 × 50 × 37 cm, landscape: 95 × 85 × 25 cm, pedestal: 42 × 42 × 24 cm
Print/Permalink: http://isamelsheimer.com/works/geb%C3%A4ude
Glaswand,
glass pieces
variable
Print/Permalink: http://isamelsheimer.com/works/glaswand
Zyklone,
concrete, polystyrene, wood, glass, plastic bags, plastic sheets, silicone, Penelope canvas
400 × 400 × 180 cm
Print/Permalink: http://isamelsheimer.com/works/zyklone
Wuchern,
fabric, thread, metal frame, concrete, plexiglass, mirror, glass, paper mâché, mosaic tiles, brass, wood, hama pearls, silicone, chicken wire, wire, foam rubber
13 panels of fabric: per 350 × 90 cm, glass show case: 200 × 120 × 40 cm, glass objekt: 10 × 40 × 70
Print/Permalink: http://isamelsheimer.com/works/wuchern
Vorhang (Schwan) ,
fabric, thread, pearls, sewing thread, sequins
350 × 200 cm
Print/Permalink: http://isamelsheimer.com/works/vorhang-schwan
São Paulo,
concrete, chicken wire, gouache, plexiglass
per object: 115 × 6 × 6 cm , gouache: 42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/s%C3%A3o-paulo
ohne Titel ,
concrete, chicken wire, polystyrene, glass
60 × 70 × 40 cm
Print/Permalink: http://isamelsheimer.com/works/ohne-titel-0
Nr.162,
gouache on paper
17 × 12 cm
Print/Permalink: http://isamelsheimer.com/works/nr162
Nr.150,
gouache on paper
17 × 12 cm
Print/Permalink: http://isamelsheimer.com/works/nr150
Nr.146,
gouache, ink on paper
42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/nr146
Nr.147,
gouache, ink on paper
42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/nr147
Felsen,
foam with acylic paint, paper mâché, chicken wire, glass, paper board, wood, plexiglass
120 × 150 × 200 cm
Print/Permalink: http://isamelsheimer.com/works/felsen
Matratzen,
3 mattresses, thread
60 × 96 × 64 cm
Print/Permalink: http://isamelsheimer.com/works/matratzen
Nr.169,
gouache, ink on paper
42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/nr169
Nr.170,
gouache on paper
42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/nr170
Nr.166,
gouache, ink on paper
42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/nr166
Berg,
wood, glass, silicone
40 × 40 × 40 cm
Print/Permalink: http://isamelsheimer.com/works/berg
Unfinishedbuilding,
fly screen, thread
32 × 32 × 20 cm
Print/Permalink: http://isamelsheimer.com/works/unfinishedbuilding
Nr.118,
gouache, ink on paper
42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/nr118
Nr.113,
gouache, ink on paper
42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/nr113
Tuch II,
fabric, thread
170 × 138 cm
Print/Permalink: http://isamelsheimer.com/works/tuch-ii
Tuch I,
fabric, thread
140 × 100 cm
Print/Permalink: http://isamelsheimer.com/works/tuch-i
Tuch III,
fabric, thread
162 × 157 cm
Print/Permalink: http://isamelsheimer.com/works/tuch-iii
Platz,
mattress, thread, mirror, concrete, wool
50 × 80 × 120 cm
Print/Permalink: http://isamelsheimer.com/works/platz
Nr.101,
gouache, ink on paper
42 × 56 cm
Print/Permalink: http://isamelsheimer.com/works/nr101
Nr.74,
gouache, ink on paper
24 × 17 cm
Print/Permalink: http://isamelsheimer.com/works/nr74
Nr.68,
gouache, ink on paper
24 × 17 cm
Print/Permalink: http://isamelsheimer.com/works/nr68
Fundament,
particle board, cement, glass, fluorescent lamps, glitter foil, Penelope canvas, wool, root
320 × 250 × 35 cm
Print/Permalink: http://isamelsheimer.com/works/fundament
Nr.63,
gouache, ink on paper
30 × 40 cm
Print/Permalink: http://isamelsheimer.com/works/nr63
Städte,
paper mâché and other materials
bucket: Ø 60 cm, h 35 cm, area: 180 ×160 cm
Print/Permalink: http://isamelsheimer.com/works/st%C3%A4dte
ohne Titel (Vorhang),
fabric, thread, pearls, sewing thread, wood, chicken wire, paper mâché
fabric: 280 × 180 cm, object: 65 × 25 × 70 cm
Print/Permalink: http://isamelsheimer.com/works/ohne-titel-vorhang
Abgegolten,
veneered particle board, branches, foam, fabric, paper tube, dry plants, bast, plastic foil, plexiglass, wine glasses, fluorescent lamp
200 × 100 × 65 cm
Print/Permalink: http://isamelsheimer.com/works/abgegolten
Garten,
fabric, foam, paper board, wood, plastic foil, plexiglass, ink- jet printings, fluorescent lamps, moth
Print/Permalink: http://isamelsheimer.com/works/garten