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Sculpture (MA)

Simone Eisele

b. 1994 in Germany 


2018 MA Sculpture, Royal College of Art, London, GB

2015 Fine Arts, KHS Mainz, Class Tamara Grcic/ John Skoog, Mainz, GER


2020 A Drive (Two 10-Second Cars and a VW Bus), VW BUS, Metzingen, GER

2020 Good Morning, Mickey!, Motorworld Metzingen, Metzingen, GER

2019 Pretzel Boots, Shaker Museum, New Lebanon, USA 

2017 Paper Masks, Schleuse Opelvillen, Ruesselsheim, GER

2017 Magic: The Gathering, KHS Gallery Mainz, Mainz, GER


2020 Flesh, The Old Operating Theatre Museum, London, GB 

2020 The Ghost House, Hollycombe, Liphook, GB (upcoming)

2020 Locus Solus (LARP), Cinema-Teatro Apollo, Bellaria, IT

2019 WIP, Darwin Building, Royal College of Art, London, GB

2019 Tomorrow Can Be a Wonderful Age, KHS Mainz, Mainz, GER

2019 HELIOS (Flying Studio), Mobile Cinema, Mainz, GER

2018 How to Touch an Airport Gently, Frankfurt International Airport, Frankfurt, GER

2018 Strangers on a Train, 64. Internationale Kurzfilmtage Oberhausen, Oberhausen, GER

2018 The Tell-Tale Heart Museum, Apotheke, Mainz, GER

2017 Let’s See, Where Were We? In The Pit Of Despair, De Ateliers (smoking room), Amsterdam, NL 

2017 Routine Pleasures, Kunsthalle Mainz, Mainz, GER

2017 Strangers on a Train, Kunsthalle Mainz, GER

2017 Ach!, Kunsthaus Frankenthal, Frankenthal, GER

2017 When January Becomes February (Some Stills), KHS Mainz, Mainz, GER

2016 abcd, TipTop Express, Mainz, GER

2016 Meet Me at the Hotelroom, Hotel Hilton Mainz City, Mainz GER


2020 Gilbert Bayes Award, The Royal Society of Sculptors

2019 Mount Lebanon Residency, New Labanon, USA

2019 Testing Ground, Zabludowicz Collection, London, GB

2018 Stipendium der Studienstiftung des Deutschen Volkes (ongoing)


2017 Tempo (100 editions)

2017 Show Me (100 editions)


Degree Details

School of Arts & Humanities

Sculpture (MA)

In my work I try to give the feeling of peeking through a keyhole into a mysterious and intriguing looking room, giving that sense that this room could somehow reveal a door into a whole hidden world.

My fantasy is made out of the primary world - our world and its everyday life - with a profound fascination for tradition and folk rituals and how these themes are staged in their domestic environment. By appropriating imagery of commercialised celebrations like Halloween or Valentine’s Day, combined with the material of enigmatic carnival ceremonies or street parades, I arrange a rather odd meeting of things, symbols and events. This in turn becomes something that is at once humorous and uncanny, cute and scary, fantastic and real. Imagine a daydream blurring the line between memory and fantasy, that evokes both pleasant and melancholic thoughts.

Growing up reading the Grimm Brother’s fairy-tales, Harry Potter and Tolkien’s the Lord of the Rings, I learned by means of stories the meaning of escapism - to visit worlds (secondary worlds) that make you forget the unpleasantness of our time - to which i try to relate to in my practice. I have always been seeking material in these narratives but also in their revivalism in films and theme parks, as well as in gardens, playrooms and on the streets - places where children use toys and street chalk, cardboard and commonplace objects to create their very own world of imagination. 

During the process I am always excited to explore new materials, to learn about their qualities and to use their characteristics as a device to amplify the meaning of my work. By looking at animation films (both 2D and 3D) and their way of stretching and overturning cosmic laws up to adorable silliness, I get an idea of how certain effects can create an illusional change in the appearance and physics of certain materials. So that in the end there is a humorous link between materiality and context. 

Good Morning Mickey

Good Morning Mickey 2

Good Morning Mickey 3

Good Morning Mickey 4

Good Morning Mickey 5

Good Morning Mickey 6

Good Morning Mickey 7

Good Morning Mickey 8

Good Morning Mickey 9

Good Morning Mickey 10

Good Morning Mickey 11

Good Morning Mickey 12

"Sleep follows fatigue, and it is not rare for dreams to compensate for the day’s sorrow and dejection and show the very simple but very magnificent existence we don’t have the strength for when awake. The existence of Mickey Mouse is one such dream. It is an existence filled with wonders that not only surpass but also ridicule the wonders of technology. For what is most remarkable about these wonders is that they are all improvised without the assistance of any machinery out of Mickey Mouse’s own body, out of his supporters and his opponents, out of the most ordinary pieces of furniture, or just as often out of a tree, clouds, or the sea. Nature and technology, primitiveness and comfort are perfectly united here. And before the eyes of people worn out by the endless complications of daily life, people for whom the purpose of life seems but the most distant vanishing point in an infinite horizon of means, appears the liberating image of an existence that in every twist and turn is self-sufficient in the simplest and most comfortable of ways, in which an automobile weighs no more than a straw hat and the fruit on the tree swells as quickly as a hot-air balloon." - Walter Benjamin. The Storyteller Essays "Experience and Poverty"

Due to the outbreak of Covid-19 my final work for the RCA degree show was put on hold. I had to leave my London studio and traveled back to Germany. During the lockdown I tried to distance myself from digital encounters in contemporary life and began looking for sites in the rural area of my home town, where I could have a physical encounter with my work nonetheless.

Good Morning, Mickey! is one of these encounters and took place in a former forging factory that was turned into an events location for car lovers. If you walked through the workshops and showrooms you would pass by a large glass front, through which a group of grinning furniture, broken hammers, playing cards and the king of hearts could be seen.


aluminium, acrylic, beech, cardboard, edding, fabrics, fibre fill, foam board, lacquer, MDF, paint, paper maché, pine, polystyrene, PVC, rock speaker, sandwich paper

A Drive

A Drive 2

A Drive3

A Drive 4

A Drive 5

A Drive 6

A Drive (Two 10-Second Cars and a VW Bus) was a temporary 24h delivery service. Instead of Pizza or parcels you would get to see a 1/4 of the exhibition “Good Morning, Mickey!” including two 10-second cars - remodelled after Brian O’Connor’s Toyota Supra from “The Fast and The Furious” - and a Pepper’s Ghost projection of Dominic Toretto. After 10.99 seconds the trunk would close again and the VW drove away.


aluminium, fabric, fibre fill, iphone, paper maché, polystyrene glass, paint, pvc, rock speaker, VW bus

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