A 12 minute narrative rhyme art video in 5 segments about an archetypal woman's struggles, voice-over with captions in English. Shot by Lisa Voelter on location on Millers Island on the Isar River, Landshut, Bavaria and at the former Chronos Industrial Scale Factory on the Sieg River, Hennef, Germany.

October 12, 2019, upon the opening of her exhibition at Galerie Susanne Neuerburg at the site of the former Chronos Industrial Scale Factory, Heather Sheehan hides in a stairwell cabinet to perform 'a Weighing'.

A brief view of Heather Sheehan's opening performance for her solo exhibition in Paul-Clemen-Museum at The Institute of Art History, Bonn University, Bonn, Germany. Opening speaker: Prof. Anne-Marie Bonnet, Camera/Tone: Frank Norden.

- a one week critical performance about the hierarchy of labor, trickle- down economics and the dignity of workers

In the attic of Schloß Plüschow, a theatrical one-woman workroom is staged. A hierarchy of tables is stacked against the logic and comfort of her labors. The SeamStress manufactures hessian/burlap work dresses like the one she herself wears. At the lowest table, she cuts the cloth. Loudly echoing in the vast room, her scissors bite through the stiff fibers. Then, she climbs perilously up to the top most table where one sewing machine, high in the air, takes center stage. There, she sits in the light of one lamp and sews. The machine rumbles, stops, starts again and again. With each completed dress, she climbs back down to wash and hang it. The new work dresses drip, dry and shrivel on the line. The results of her labors fill the lines to her left and right with dresses for an army of absent workers.

The wall drawing, 'waterline' is transformed using water from the Lech canal which runs before the exhibition building. The illusion of woven cloth is transformed into an image of fluid water recalling the washing stage of textile manufacturing processes.

The wall drawing, 'waterline' is transformed using water from the Lech canal which runs before the exhibition building. The illusion of woven cloth is transformed into an image of fluid water recalling the washing stage of textile manufacturing processes.

The wall drawing, 'waterline' is transformed using water from the Lech canal which runs before the exhibition building. The illusion of woven cloth is transformed into an image of fluid water recalling the washing stage of textile manufacturing processes.

part of 'sack-rope-stone'
on-going installation / performance series, 2014-2016

part of 'sack-rope-stone'
on-going installation / performance series, 2014-2016

part of 'sack-rope-stone'
on-going installation / performance series, 2014-2016

part of 'sack-rope-stone'
on-going installation / performance series, 2014-2016

part of 'sack-rope-stone'
on-going installation / performance series, 2014-2016

part of 'sack-rope-stone'
on-going installation / performance series, 2014-2016

part of 'sack-rope-stone'
on-going installation / performance series, 2014-2016

part of 'sack-rope-stone'
on-going installation / performance series, 2014-2016

part of 'sack-rope-stone'
on-going installation / performance series, 2014-2016

part of 'sack-rope-stone'
on-going installation / performance series, 2014-2016

2' 53 minute video documentation of Sheehan washing away the wall drawing at end of year long exhibition:
(w)hole at SAM project room, Cologne, Germany

As the seismograph registers the stirrings of the earth’s core, Heather Sheehan’s body registers stirrings of human experience imbedded in historic buildings. Hovering at the crossing point of architectural and human memory, she attends to the individual mythologies of place.

During her 2015 solo exhibition in K.V. Augsburg, the New York born artist climbed the staircase of one of Augsburg’s renowned medieval addresses. On the landing, a row of Marionettes hung from their crosses. There, she positioned her camera and loaned her body out to the ghost of a female houseworker. For the premeire presention of the resulting self-portrait series, Marionette’s Landing, Sheehan returns to Augsburg to give a performance. With medium-format camera, she shoots herself before a live audience. Sheehan plays both the role of the artist and that of the ghost. She objectifies herself, inviting us to explore the space between the self and the other.

In an intimate gallery space before a select live audience, an artist steps into another woman's role and photographs herself. Costume change was part of the performance at Claudia Weil Galerie II.