Sculpture

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Isabella Rudzki (b. 1995, Germany) is an artist and designer examining the human body as a display for norms, tales, and cultural discourse. She engages with themes of identity and transformation: performative sculptures that unite movement with theatrical arrangement create a tension between decorative objects and living beings. Rudzki holds a BA in Fashion Design and works between Germany and Mexico.

Belle Crown, 2024 

480mm x 120mm, ca. 250g
925 sterling silver, amethyst, ammonite, black diamond (synt.), citrin, glass, moon stone, obsidian, rock crystal, turmalin 

Isabella Rudzki at POSITIONS BERLIN ART WEEK,  2024

„Children believe what we tell them. They have complete faith in us. They believe that a rose plucked from a garden can bring drama to a family.
They believe that the hands of a human beast will smoke when he kills a victim, and that this beast will be shamed when confronted by a young girl.“ -  Jean Cocteau, La Belle et La Bête 1946

Sleeping II, 2025

180mm x 50mm x 40mm
Natural clay, ash, cotton



Sleeping I, 2025

90mm x 70mm x 60mm
Natural clay and ash

Isabella Rudzki & Sasha G Kramer - Tender Relics, 03.12.2025-06.12.2025

Tender relics, the urge to seek something anciently true, revealing secrets. Beneath the surface linger forgotten or erased stories, fragments that once held the trace of a body. What remains, though broken and incomplete, becomes holy, a relic charged with what it once was and what it may become. Actions repeat: what makes us whole and what gives us purpose. Here, remnants become evidence.

The collaboration offers an intimate glimpse into a world both familiar and timeless. Relics that hold memories take on a powerful presence. Within this, themes of true identity, labor, and careful observation emerge. These forms operate as vessels for what has been held softly—touch, work, inheritance—carrying the remnants of gestures passed across generations. It becomes an excavation site of devotion, a reminder of the bodies and histories that shaped it, and of what, once unearthed, will begin again. What emerges is a landscape of intimacies—delicate yet concrete. Familiarity becomes sacred, and relics become foundations.

Tender Relics, 2025

Digital film

Together, Rudzki and Kramer developed Tender Relics as both a curated selection of existing works and new collaborative pieces formed into an installation that invites close examination. The installation opens with a table of objects—relics created by each artist. Kramer explores the form of the brick in ways that mimic the body, held and protected by steel, resting on skin-like forms. Rudzki shapes bodily forms from clay sourced in Bavaria, preserved with fabric.

The artists filmed a performance in Bavaria at Rudzki’s home, working directly with clay from the village. The film traces a systematic, almost habitual sequence of actions: gestures that appear simple or even futile, yet accumulate meaning through repetition. Present throughout is the holiness of the true body, both as a living sculpture and as a vessel for acts of care, tending to what remains.

Anoigma Performance at Galerie Esthete, 2023

DIRECTION & PRODUCTION: ISABELLA RUDZKI
PERFORMERS: MAR & BARUK



Anoigma Performance at Galerie Esthete, 2023

DIRECTION & PRODUCTION: ISABELLA RUDZKI
PHOTO: MAR CASTAÑEDO
PERFORMERS: COLETTI & ROMINA



Anoigma Performance at Galerie Esthete, 2023

Isabella Rudzki at CDMX ART WEEK 2023

A body of art, like any body formed by nature, can neither be traced to its first beginnings nor could it ever be finished. The performance piece was an attempt to explore human desire and fascination for the beauty of natural growth that creates all vibrance between birth, decay and beyond.

The performance was created for our pop-up event at Galerie Esthete and first took place in December 2022 in their showroom in Mexico City.

 

Ammonite Performance at Galerie Esthete, 2023 

DIRECTION & PRODUCTION: ISABELLA RUDZKI
PERFORMERS: SIERVA M., COLETTI, MÓNICA COLIN.



Ammonite Performance at Galerie Esthete, 2023

As one of the first species to populate earth and have hardly evolved since. Symbolically, snails preserve the history of our planet. They will outlive us humans, just as ammonites have outlived many ephemeral things around them.

A seemingly small space of a snail shell growing, teaching reciprocal ways of construction. Interpreted through ratan and paper-maché the Ammonite sculpture was the center of a live performance shown at Mexico City Art Week 2023.

The piece substantiates the changes menkind goes through during a lifetime. It showed the formation of bonds and conflicts that cause physical as well as spiritual union - not only with others, but also within ourselves.

Ammonite Lamp, 2023

70cm x 49cm x 29cm

Rattan, paper maché, led lamp

El Árbol Performance at Delab Mexico City, 2023 

DIRECTION & PRODUCTION: ISABELLA RUDZKI
PERFORMERS: ROMINA & MAR CASTAÑEDO
PHOTO: ALINA CHERUBIN




El Árbol Performance at Delab Mexico City, 2023

The piece is about a forest spirit that encounters the fragility of nature. In an impulsive interaction with a tree spirit, it learns not to possess immovable beauty and to treat it with compassion.

Yet a House, 2022

“There are strange angles, quite strange. The same sun that shines on all the others does not seem to look into these angles, but another new sun looks into them, which seems to be especially ordered for these angles and illuminates everything with a peculiar and strange light. In this light, as it seems, a completely different life is hatched, which has no resemblance to that which bubbles around us, but is a life as it can prevail only in another time, but not with us and not in our serious, supra-new time. And this life is a mixture of something purely fantastic, hot-bloodedly idealistic, and that drearily prosaic and ordinary, not to say common to the point of absurdity. You will hear that in these corners live those strange people who are called fantasists. The fantasist, should an exact determination prove necessary, is not a man, but something like a being of middle sex. He usually dwells somewhere in an inaccessible corner, as if he wanted to hide there even from the daylight, and once he feels at home there, then he grows in his corner neatly like a snail, or at least like that strange animal, which is at the same time an animal and yet a house.”

White Nights
Fjodor Dostojewskij, 1848