Unveiling Lisa Herfeldt's Eerie Silicone-Gun Artistry: In Which Objects Feel Alive

When considering bathroom renovations, it might be wise to steer clear of hiring this German artist for the job.

Certainly, she's highly skilled in handling foam materials, producing fascinating artworks out of an unusual medium. However as you examine these pieces, the more one notices a certain aspect seems somewhat off.

The dense tubes of sealant Herfeldt forms reach over display surfaces supporting them, sagging off the edges towards the floor. The gnarled silicone strands bulge before bursting open. Certain pieces leave their transparent enclosures entirely, turning into an attractor of debris and fibers. It's safe to say the reviews might not get pretty.

“I sometimes have this sense that things possess life inside an area,” remarks the sculptor. This is why I turned to this foam material because it has such an organic texture and feeling.”

In fact there’s something somewhat grotesque in Herfeldt’s work, from the phallic bulge that protrudes, similar to a rupture, from the support within the showspace, and the winding tubes made of silicone that burst as if in crisis. Displayed nearby, the artist presents photocopies depicting the sculptures captured in multiple views: they look like squirming organisms picked up on a microscope, or growths in a lab setting.

What captivates me that there are things in our bodies taking place that also have a life of their own,” Herfeldt explains. Elements which remain unseen or manage.”

Talking of things she can’t control, the exhibition advertisement featured in the exhibition displays an image of the leaky ceiling at her creative space located in Berlin. Constructed erected decades ago and according to her, was quickly despised from residents as numerous older edifices got demolished for its development. By the time run-down when Herfeldt – who was born in Munich although she spent her youth near Hamburg prior to moving to the capital during her teens – began using the space.

The rundown building proved challenging for the artist – she couldn’t hang her art works without fearing they might be damaged – but it was also fascinating. Without any blueprints on hand, no one knew how to repair the problems which occurred. Once an overhead section in Herfeldt’s studio got thoroughly soaked it collapsed entirely, the sole fix meant swapping the damaged part – thus repeating the process.

In a different area, the artist explains the leaking was so bad that several collection units got placed within the drop ceiling to divert leaks to another outlet.

I understood that the building resembled an organism, an entirely malfunctioning system,” Herfeldt states.

These conditions evoked memories of a classic film, John Carpenter’s debut cinematic piece about an AI-powered spacecraft that takes on a life of its own. Additionally, observers may note given the naming – Alice, Laurie & Ripley – other cinematic works influenced to have influenced the artist's presentation. These titles refer to the leading women from a horror classic, another scary movie plus the sci-fi hit as listed. Herfeldt cites a critical analysis by the American professor, that describes these “final girls” as a unique film trope – women left alone to triumph.

“She’s a bit tomboyish, rather quiet and she can survive because she’s quite clever,” says Herfeldt of the archetypal final girl. “They don’t take drugs or have sex. And it doesn’t matter the audience's identity, everyone can relate to the survivor.”

Herfeldt sees a similarity between these characters with her creations – objects which only staying put amidst stress they’re under. Is the exhibition more about social breakdown beyond merely leaky ceilings? Because like so many institutions, these materials meant to insulate and guard from deterioration in fact are decaying within society.

“Oh, totally,” she confirms.

Before finding inspiration in the silicone gun, Herfeldt used different unconventional substances. Recent shows included forms resembling tongues using fabric similar to you might see within outdoor gear or apparel lining. Once more, there's the impression these strange items could come alive – certain pieces are folded as insects in motion, some droop heavily off surfaces or spill across doorways attracting dirt from footprints (Herfeldt encourages viewers to touch leaving marks on pieces). Like the silicone sculptures, the textile works are also housed in – and escaping from – budget-style transparent cases. These are unattractive objects, and that's the essence.

“These works possess a particular style that draws viewers highly drawn to, while also appearing gross,” Herfeldt remarks with a smile. “It attempts to seem absent, however, it is highly noticeable.”

The artist does not create art to provide comfortable or visual calm. Rather, she aims for discomfort, odd, or even humor. But if you start to feel a moist sensation on your head too, remember the alert was given.