Vija Celmins' House sculptures, created in the mid-1960s, represent an early and significant exploration of personal and historical themes through a three-dimensional medium. These works, including "House #1" (1965) and "House #2" (1965), reflect her experiences and memories from her childhood during World War II in Latvia and her subsequent immigration to the United States.

"House #1" is a small-scale sculpture made from a combination of materials, including oil on canvas mounted on wood, fox fur, and metal. The piece measures approximately 7.5 x 6.5 x 10 inches, with a roof section adding a slightly different dimension. This sculpture, along with "House #2," is noted for its intricate details and the use of unconventional materials, which give it a unique texture and presence. Celmins painted scenes of destruction, such as fires and plane crashes, on the surfaces of these dollhouse-like structures, directly linking the works to her wartime experiences (Matthew Marks Gallery) (Minnie Muse).

These sculptures serve as poignant reflections on the themes of war and displacement. The choice of a house as the subject is particularly significant given that Celmins' father was a builder, adding a personal layer to the works. The houses are not just representations of domestic spaces but are imbued with the trauma and instability that marked her early life. This connection to her personal history makes these sculptures deeply autobiographical (Minnie Muse).

Celmins' "House" sculptures are also an exploration of scale and the intersection between two-dimensional and three-dimensional art. By painting detailed scenes onto these small structures, she combines the meticulous rendering typical of her drawings with the physicality of sculpture. This blend of painting and sculpture allows her to explore the boundaries of each medium and how they can be used to convey complex narratives (Matthew Marks Gallery) (Minnie Muse).

The House sculptures are a testament to Vija Celmins' ability to infuse personal and historical significance into her work, using meticulous detail and innovative use of materials to create powerful, evocative pieces. These early sculptures laid the groundwork for her later explorations of natural phenomena and other subjects, demonstrating her continuous engagement with themes of memory, trauma, and the passage of time.