Gesso Paintings:
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Delicate artworks made with pigmented gypsum — holding a quiet dialogue between form and movement.
Gesso Paintings Series
​In the Gesso Paintings series, Miriam Loellmann expands on her minimalist, all-white White Cubes, bringing her sculptural process closer to painting by embedding color directly into cast gypsum. Over several weeks, each piece is handmade, sun-dried, and polished, revealing subtle variations in tone, height and texture. The resulting surfaces appear painted but remain fully sculptural — embodying delicacy, stillness, and gentle rhythm.
Summer in Rio 1, 2020/22, Gesso Paintings Series
gypsum, pigments, wax, 123 x 99 x 5 cm / 48.5 x 39 × 2 in
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Fluidez, 2024, Gesso Paintings Series
gypsum, pigments, wax, 99 x 79 x 4 cm / 39 x 31 × 1.6 in
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White Cubes Series
Duo, 2017, White Cubes Series
gypsum, wax, 95 x 72 x 5 cm / 37.4 x 28.3 × 2 in
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Woven Metals:​
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Two contrasting metals are woven together — balancing structure and fluidity.
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Woven Metals Series
Through handcrafted weaving of two contrasting metals, Loellmann creates compositions that balance structure and fluidity. Each metal reacts uniquely to air, moisture, and light, developing natural patinas that become part of the work’s living quality. The Woven Metals series explores movement, change, and the beauty of imperfection — engaging with time as a sculptural force beyond control.
Woven Metals No.2, 2018, Woven Metals Series
copper, stainless steel, 80 x 60 x 5 cm / 31.5 x 23.6 x 2 in
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Woven Metals No.1, 2018, Woven Metals Series
copper, rosted steel, 32 x 32 x 3 cm / 12.6 x 12.6 x 1.2 in
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Illusion and Is-ness:​
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Leather and metal elements interlock into shifting geometric compositions.​
Illusion and Is-ness Series
This series explores the interplay of optical illusion, tactile presence, and material
contrast — reflecting the layered nature of thought and the tension between perception and reality. Geometric gypsum forms, covered in leather or treated metal, interlock into shifting compositions. Leather defines presence; metal reveals inner space. These works invite not just seeing, but sensing — becoming meditative objects of stillness and perception.
Quintessenz, 2019, Illusion and Is-ness Series
leather, stainless steel, gypsum, 98 x 98 x 5 cm / 38.6 x 38.6 x 2 in
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Rio, 2019, Illusion and Is-ness Series
leather, stainless steel, gypsum, 60 x 46 x 3 cm / 23.6 x 18.1 x 1.2 in
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Split and yet one, 2020, Illusion and Is-ness Series
leather, stainless steel, gypsum, 99 x 89 x 4 cm / 39 x 35 x 1.6 in
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Untitled, 2020, Illusion and Is-ness Series
leather, copper, gypsum, 68 x 54 x 4 cm / 26.8 x 21.3 x 1.6 in
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Geometric Compositions:
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Nuanced tactile qualities engage the senses beyond the visual — gently awakening the viewer’s curiosity to feel.
Geometric Compositions Series
Inspired by architectural patterns found in everyday environments — especially floors and walls — this series transforms familiar motifs into quiet, refined compositions. Geometric clarity meets organic materiality as contrasting textures and surfaces create subtle tension. Each work encourages viewers to slow down and explore what lies beneath the surface — between the constructed and the felt.
Tapis du Rêve 1, 2018, Geometric Compositions Series
leather, gypsum, 94.5 x 66 x 4 cm / 37.2 × 26 × 1.6 in
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Untitled, 2025, Geometric Compositions Series
leather, wood, lacquer, gypsum, 70 x 58.5 x 3 cm / 27.6 x 23.0 x 1.2 in
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Ipanema Wall, 2014/15, Geometric Compositions Series
concrete, steel, 15m² / 161.46 sq ft
Design Hotel Chez Georges, Rio de Janeiro​​
Ipanema Wall, commissioned work, 2014/15
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Ipanema Wall is a site-specific installation for a modernist villa, inspired by Ipanema’s iconic sidewalk patterns. Crafted from hand-made concrete and burnt steel tiles, the 15m² wall responds to the 1974 Brazilian Brutalist architecture by Wladimir Alves de Souza. The materials — raw concrete and thermally treated steel — reflect the building’s character and Rio's climate, creating a tactile contrast that evolves over time through steel oxidation. The work invites close engagement and forms a sculptural centerpiece, blending geometry, materiality, and architectural context.
In Space​
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This quiet space allows for a physical experience of selected works.
Viewings are possible by appointment.
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Concrete Cubes Tables:​
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Geometry merges with organic tactility — inviting to a unique sensory experience.
Concrete Cubes Tables
In 2014, Miriam Loellmann discovered the concrete cubes, which led two years later to the creation of the first Concrete Cubes Table — consisting of 289 loose concrete cubes placed on the leather surface of the steel table. Each cube is unique and interchangeable, forming an irregular, stone-like tabletop that offers a rich tactile experience.
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In 2021, after years of refinement, she finally achieved the finish and tactile quality she had long envisioned. Returning to the concept with new precision, she introduces color as a new layer of expression. Each Concrete Cube Table is individually handcrafted by the artist in her studio in Rio de Janeiro — produced in a single size and a limited edition of 10 per color, making every piece one of a kind.​
Concrete Cubes Table, 2021
concrete, pigments, wax, steel, leather, 56.5 x 56.5 x 46 cm / 22.2 x 22.2 x 18.1 in
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In 2025, the series entered a new chapter. The cubes are now fixed to the surface, shifting the focus to touch — a calm, tactile experience as the hand glides across the table. That year, Miriam Loellmann also created a smaller version for the first time, expanding the possibilities for different spaces. Production is no longer limited, yet each piece remains handcrafted in small quantities — about two per month. Every cube is individually cast and polished by hand, and the steel bases are crafted by a local welder she has collaborated with since 2016. Each table is made to order, with size adjustments available on request.
Concrete Cubes Table, 2025
concrete, pigments, wax, steel, leather,
41 x 41 x 38.5 cm / 16.1 x 16.1 x 15.2 in
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