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"From the very beginning, the majority of my artistic work has revolved around the themes of femininity and justice in a holistic sense.


I repeatedly take on roles of female archetypes: the role of the victim, the rebel, the mother, the lover, the creator, and so on ...


My earlier projects speak a lot about suffering.

Back then I needed to go to those vulnerable places of trauma and victimhood in order to show my solidarity towards those who are experiencing injustice. I needed to honour it and understand it - I needed to understand the roots of suffering and the way out of it - not just for myself, but in a collective sense. I wanted to know how humanity could find a way out of the story of war, violence, sexism, racism, oppression, destruction, exploitation and so forth …


In those early years I interviewed people who had come to Germany recently as political or war refugees. And I had conversations with elders from different countries who were war witnesses from World War II.


As a result, in my artistic work, I explored the cycles of life, the story of war and peace, violence, cross generational trauma and ways to heal from it.


My search for answers brought me to a conscious connection with myself - and being a woman in this world. And I discovered that healing the wounds of the female self created a large contributing to bringing this world back into balance.


I dove deep into teachings of female body wisdom - and started to embrace the rhythms and the ancient life force pulsing through me.

These insights started to reflect in my work too - the ability to transform - the power to create - the continuous flow of change and rebirth - and the aspect of the sacred. 


Now, with the creation of the installation MUTTERZELT, I will bring all those aspects together: sacredness, suffering and compassion.

Honouring what once was and visualising what will be.

All the projects I've been involved in or created over the past two decades have been pieces of the puzzle that have led me into a deeper understanding and clear direction of using my voice in a conscious way.

Be it in the role of leading courses in dance, theatre, visual arts or women’s seminars - co-founding and running a cultural space - being part of theatre- and dance projects - writing and performing my own music as a singer-songwriter - or creating my own artistic works.

The following section of this page is showing a selection of performances and installations that were dedicated to the topics mentioned above." 

luisa lua  

Without Title

Video Installation, 2006, Galerie im Unteren Hardthof, Gießen, Germany

The installation is showing an almost still video in which the artist is standing against the wall, wearing nothing but a red skirt and a white bandage around her eyes.

Touching on the role of a martyr, the artist wants to draw attention to the need of solidarity and support for those who are suffering from the consequences of war or dictatorship.

The white bandage can be seen as a symbol of innocence, the nudity as an expression of vulnerability and the red skirt as a statement of female power and activism.

The video was filmed in a former chapel. The presentation took place in a vaulted cellar below the gallery.

The creative process for the artwork was preceded by interviews with refugees from the Congo and Iraq and a confrontation with the artist's own ancestral history and the Nazi regime.

Lucia, die Große (Lucia, the Great)

Performance, 2009, Jokus, Gießen, Germany

In this performance the artist explores a journey through various lifetimes. She addresses sexual violence and the story of healing and empowerment.

The artist is moving through stages of grace, victimhood, rage, surrender and rebirth.

The title itself is an allusion to the epithet “der Große” (the Great) which throughout history has mostly been given to men who are praised for their "great" achievements, based on violence.

“Lucia the Great” is a tribute to the feminine self, which over thousands of years has survived countless attacks and always finds its way back to its true greatness.


“Back then the creation of the piece unfolded in a very intuitive way. The puzzle pieces came together through sound- and movement improvisation, creative writing and intuitively selecting the elements and requisites I was working with.

In retrospective the meaning of this work has unfolded in a much broader sense for me. For example back then the “blood" stood for the aspect of violence and victimhood. But nowadays, I can say that using the "blood" in Lucia, the Great wasn’t only an expression of suffering - it also was a premonition of how much power is inherent in the female body and its menstrual cycle.” Luisa Lua

Anfang (Beginning)

Performance, 2010, Alte Kupferschmiede, Gießen, Germany

The work stands for the process of creation and impermanence.

The artist is sitting on a pedestal, wearing a torn old-fashioned nightgown. She has a bowl with clay in front of her from which she is forming an egg. And once the egg is finished, she destroys it and starts all over again. She repeats this process countless times and lets the audience witness the continuous flow of creation, change and recreation.

During this monotonous repetitive activity, the performer steps into the role of the creator, patiently faces frustrations and surrenders to the continuous cycle of becoming, being, fading and becoming …

Without title

Art-installation, 2015, Alte Kupferschmiede, Gießen, Germany

For this room installation the artist is gathering requisites from past works which keep reappearing in her art - adding an antique chair, a tree trunk and a pair of worn-out slippers.

She is forming a pathway made of soil leading from a torn old-fashioned nightgown hanging at the wall towards an open window at the other side of the room.

The requisites may stand as symbols for the following:


Antique chair - the past

Torn old-fashioned nightgown - ancestresses, suffering, hard work, self-sacrifice 

Soil - fertility, transformation

Tree trunk - rootedness, growth

Egg - creation

Red skirt - female power

Bowl with water - cleansing properties

Slippers - life path

Open window - the future


“The nightgown had been a gift to me from my ex-boyfriends grandmother. I used it as a costume during a theatre production called Die reisenden Seelen (The travelling souls), directed by Juana Sudario. The garment was already so old that during the period of dress rehearsals and performances it started to fall into pieces. I kept sewing and knotting the fabric together - over and over again. And the tears in the nightgown reinforced the meaning of the life story my character was telling.


For me, old night gowns as art objects symbolise the hidden, intimate parts of women’s realities. So after performing The travelling souls I wanted to integrate the nightgown (and its story) into the room installation.

This exact nightgown will also be integrated in the fabric of the tent of MUTTERZELT.” Luisa Lua

Muttermund (mother's mouth / mouth of uterus)

Ephemeral art-installation, 2019, forest in Baden-Württemberg, Germany

The word Muttermund (mother’s mouth) means “mouth of uterus / cervix”.

This work is honouring women’s and nature’s fertility and creative forces. It speaks of giving birth, creation, life and impermanence. 

The installation was placed out in nature, in a forest in the south of Germany. It consists of various pieces of clay in a vulva-shaped form and eggs.

Muttermund was made out of sheer dedication to art as such, without an official exhibition framework. It served as a personal experience and a gift to nature and those people who would find it by coincidence.


“When I returned to that place two years after making Muttermund, I didn’t expect to find leftovers of the installation. I thought somebody might have destroyed it or that nature had taken over and made it disappear.

But when I returned I found the installation untouched. The pieces of clay were exactly where I had placed them - almost washed away by the rain, but still in the very exact formation. 

I was truly in awe.” Luisa Lua

MUTTERZELT (mother tent)

Art-Installation, time and place TBA

The very first phase of research and experimentation for this project has recently taken place and the actual making of Mutterzelt will start in summer 2024. 

This project will be the largest work of installation art Luisa Lua has created to date. And it will be the first time that she will be showing this type of genre in Portugal, her second home.

Mutterzelt is a work of ritual, remembering and reconnection.

It is dedicated to femininity, female principles and female ancestors.

The final object of the installation will be a tent made of old-fashioned night gowns, open to the public.

The majority of the night gowns is made of the artist's own ancestors' bedsheets.

The tent will be round - with a diameter of ca. 3 meters. And it will be accompanied by an alter-like piece of furniture, where people will be able to leave a note, add a flower, light a candle ... in order to honour the female self or to commemorate a female ancestor etc. - in their own kind of way.

The final act will be the washing of the tent in the Atlantic Ocean after the exhibition.

Read more ...

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