born 1966 in Nordhorn. Lives and works in Berlin since 2002.
Isabel Reitemeyer studied visual communication at the University of Applied Sciences for Design in Münster. Before she put her artistic focus on collage, she worked as a printer, freelance graphic designer and worked as an artistic assistant in well-known German film productions, including Mogadishu, Das wilde Leben and Der Vorleser. Reitemeyer’s collages have already been published on numerous record and magazine covers and have been shown in exhibitions all over the world – including in well-known institutions such as the Bröhan Museum Berlin, the Museum Böttcherstraße Bremen and the Frauenmuseum Wiesbaden.
I discovered collage as a medium for myself in 2007. I work in analogue and prefer images from the period between 1960 and 1990, when books and magazines were not yet produced digitally.
I tend to work impulsively and like it orderly and calm. At least on paper. I try to express a feeling with as little material as possible, but I also explore how much I can take away to get a meaningful image.
What inspires and interests me artistically is often what doesn’t conform to the norm, the other, the disturbing and irritating, what happens beyond perfection. My artistic work is on the one hand an examination of what is happening around me right now, but at the same time also a reaction to what is happening globally.
Others about me
The collages of Isabel Reitemeyer are disconcerting yet strangely familiar. Drawn to an image, usually of a person or animal, Reitemeyer proceeds by cutting away essential elements that determine our interpretation. She obscures eyes so they no longer direct our gaze, fuses disparate images, or isolates fragments. She doesn’t embellish images – she strips them down. In her search for an essence, she creates entirely new beings: animals turn into fluffy balls or disturbing chimeras, models are swallowed up by their haircuts. Thin slivers of paper evoke entire worlds. By refusing to conform to the norm, her extraordinary images challenge the way we see things.
Leonor Faber-Jonker, 2022