Unveiling Lisa Herfeldt's Sinister Silicone-Gun Sculptures: In Which Objects Appear Animated

Should you be thinking about restroom upgrades, it's advisable not to choose employing the sculptor to handle it.

Indeed, she's a whiz in handling foam materials, producing fascinating sculptures with a surprising art material. Yet as you observe the artworks, the clearer one notices that an element feels slightly strange.

The dense lengths of sealant Herfeldt forms extend beyond their supports supporting them, hanging over the sides towards the floor. The gnarled foam pipes expand until they split. Some creations break free from their transparent enclosures completely, becoming an attractor of debris and fibers. Let's just say the ratings would not be positive.

At times I get the feeling that objects possess life within a space,” states Herfeldt. “That’s why I turned to this substance as it offers such an organic sensation and look.”

In fact one can detect rather body horror about Herfeldt’s work, including that protruding shape jutting out, similar to a rupture, off its base at the exhibition's heart, and the winding tubes from the material which split open resembling bodily failures. Along a surface, the artist presents images of the works viewed from different angles: resembling microscopic invaders observed under magnification, or growths in a lab setting.

I am fascinated by that there are things inside human forms taking place which possess a life of their own,” she says. Elements that are invisible or command.”

On the subject of things she can’t control, the exhibition advertisement for the show displays an image of water damage overhead within her workspace in the German capital. Constructed erected decades ago and, she says, was quickly despised by local people as numerous older edifices were removed for its development. The place was run-down when Herfeldt – originally from Munich although she spent her youth north of Hamburg prior to moving to the capital in her youth – moved in.

This decrepit property proved challenging for the artist – placing artworks was difficult her pieces without concern risk of ruin – yet it also proved compelling. Lacking architectural drawings accessible, no one knew the way to fix the problems that arose. When the ceiling panel in Herfeldt’s studio became so sodden it gave way completely, the sole fix involved installing it with another – perpetuating the issue.

In a different area, the artist explains the water intrusion was severe so multiple shower basins were set up above the false roof to divert the water to a different sink.

It dawned on me that this place was like a body, an entirely malfunctioning system,” Herfeldt states.

The situation brought to mind the sci-fi movie, the initial work movie from the seventies about an AI-powered spacecraft that develops independence. And as you might notice through the heading – Alice, Laurie & Ripley – more movies have inspired shaping this exhibition. These titles point to main characters in Friday 13th, Halloween and Alien in that order. Herfeldt cites a 1987 essay written by Carol J Clover, outlining the last women standing as a unique film trope – protagonists by themselves to overcome.

These figures are somewhat masculine, reserved in nature and she can survive because she’s quite clever,” says Herfeldt of the archetypal final girl. “They don’t take drugs or have sex. It is irrelevant the audience's identity, all empathize with the survivor.”

The artist identifies a connection from these protagonists with her creations – things that are just about holding in place under strain affecting them. Is the exhibition more about social breakdown beyond merely leaky ceilings? As with many structures, these materials meant to insulate and guard from deterioration are actually slowly eroding within society.

“Oh, totally,” says Herfeldt.

Before finding inspiration using foam materials, Herfeldt used alternative odd mediums. Past displays included forms resembling tongues crafted from a synthetic material typical for in insulated clothing or inside a jacket. Again there is the sense these peculiar objects might animate – some are concertinaed like caterpillars mid-crawl, pieces hang loosely from walls blocking passages gathering grime from contact (The artist invites people to handle and soil the works). Like the silicone sculptures, those fabric pieces are also housed in – and breaking out of – cheap looking transparent cases. They’re ugly looking things, and really that’s the point.

“They have a certain aesthetic which makes one highly drawn to, and at the same time they’re very disgusting,” the artist comments amusedly. “It attempts to seem invisible, yet in reality extremely obvious.”

Herfeldt's goal isn't work to make you feel ease or visual calm. Rather, her intention is to evoke uncomfortable, odd, or even humor. And if there's something wet dripping on your head as well, consider yourself the alert was given.