Exploring the Eerie Sealant-Based Artistry: In Which Things Appear Living

When considering washroom remodeling, you may want to avoid employing the sculptor for the job.

Indeed, she's an expert in handling foam materials, producing fascinating artworks out of an unusual medium. But as you look at the artworks, the more one notices that something is a little unnerving.

Those hefty lengths made of silicone she produces extend past display surfaces where they rest, drooping over the sides to the ground. The gnarled silicone strands bulge till they rupture. A few artworks escape their transparent enclosures completely, evolving into a magnet for dust and hair. Let's just say the ratings would not be positive.

At times I get this sense that objects possess life in a room,” states Herfeldt. “That’s why I came to use this substance as it offers a distinctly physical texture and feeling.”

Indeed one can detect rather body horror about the artist's creations, from the phallic bulge that protrudes, hernia-like, from its cylindrical stand in the centre of the gallery, to the intestinal coils made of silicone that rupture as if in crisis. Displayed nearby, Herfeldt has framed photocopies depicting the sculptures viewed from different angles: resembling wormy parasites seen in scientific samples, or growths on a petri-dish.

What captivates me is the idea within us taking place which possess their own life,” Herfeldt explains. “Things which remain unseen or manage.”

On the subject of things she can’t control, the exhibition advertisement for the show displays a photograph of the leaky ceiling in her own studio located in Berlin. It was built in the early 1970s as she explains, was quickly despised from residents as numerous historic structures got demolished in order to make way for it. The place was dilapidated upon her – a native of that city but grew up near Hamburg then relocating to Berlin as a teenager – took up residence.

This decrepit property caused issues to Herfeldt – placing artworks was difficult her art works without fearing risk of ruin – however, it was fascinating. With no building plans accessible, nobody had a clue methods to address any of the issues that developed. Once an overhead section within her workspace became so sodden it collapsed entirely, the single remedy was to replace it with another – and so the cycle continued.

Elsewhere on the property, Herfeldt says dripping was extreme so multiple shower basins were set up above the false roof to divert the moisture elsewhere.

I understood that this place was like a body, a totally dysfunctional body,” Herfeldt states.

The situation brought to mind the sci-fi movie, John Carpenter’s debut movie from the seventies about an AI-powered spacecraft that develops independence. Additionally, observers may note through the heading – Alice, Laurie & Ripley – that’s not the only film to have influenced this exhibition. The three names indicate main characters in the slasher film, another scary movie and the extraterrestrial saga respectively. Herfeldt cites an academic paper written by Carol J Clover, which identifies the last women standing an original movie concept – female characters isolated to save the day.

“She’s a bit tomboyish, reserved in nature and she can survive due to intelligence,” the artist explains of the archetypal final girl. No drug use occurs nor sexual activity. And it doesn’t matter the audience's identity, all empathize with this character.”

Herfeldt sees a similarity between these characters and her sculptures – objects which only holding in place despite the pressures affecting them. Is the exhibition focused on cultural decay rather than simply dripping roofs? Similar to various systems, substances like silicone meant to insulate and guard from deterioration are gradually failing around us.

“Absolutely,” she confirms.

Prior to discovering her medium in the silicone gun, the artist worked with different unconventional substances. Previous exhibitions featured forms resembling tongues crafted from fabric similar to found in on a sleeping bag or in coats. Again there is the impression such unusual creations seem lifelike – a few are compressed as insects in motion, others lollop down from walls blocking passages collecting debris from touch (The artist invites viewers to touch and dirty her art). As with earlier creations, the textile works are similarly displayed in – and escaping from – cheap looking display enclosures. These are unattractive objects, which is intentional.

“These works possess a particular style which makes one compelled by, yet simultaneously appearing gross,” she says amusedly. “It tries to be not there, yet in reality highly noticeable.”

Herfeldt is not making pieces that offer ease or beauty. Rather, she aims for discomfort, strange, maybe even amused. But if you start to feel a moist sensation from above additionally, don’t say this was foreshadowed.