🔗 Share this article

Should you be thinking about washroom remodeling, it's advisable not to choose employing Lisa Herfeldt for such tasks.

Certainly, Herfeldt is an expert in handling foam materials, crafting intriguing artworks with a surprising medium. Yet the more look at these pieces, the stronger one notices that something feels slightly unnerving.

Those hefty lengths of sealant she produces extend beyond the shelves supporting them, sagging off the edges towards the floor. Those twisted silicone strands expand until they split. A few artworks leave their transparent enclosures fully, evolving into an attractor for dust and hair. It's safe to say the reviews are unlikely to earn favorable.

There are moments I feel the feeling that things possess life in a room,” remarks the German artist. Hence I turned to silicone sealant because it has such an organic sensation and look.”

Certainly there is an element somewhat grotesque in the artist's creations, including that protruding shape which extends, like a medical condition, from its cylindrical stand within the showspace, or the gut-like spirals of foam that rupture like medical emergencies. Along a surface, Herfeldt has framed prints of the works captured in multiple views: appearing as microscopic invaders observed under magnification, or growths on a petri-dish.

“It interests me is the idea in our bodies taking place which possess a life of their own,” she says. Elements which remain unseen or manage.”

Regarding unmanageable factors, the exhibition advertisement featured in the exhibition includes an image showing a dripping roof at her creative space in the German capital. It was made in the seventies and according to her, was quickly despised from residents as numerous old buildings got demolished for its development. It was already in a state of disrepair as the artist – a native of that city although she spent her youth north of Hamburg then relocating to Berlin as a teenager – began using the space.

This deteriorating space caused issues for her work – placing artworks was difficult her pieces anxiously risk of ruin – but it was also fascinating. Without any blueprints accessible, nobody had a clue methods to address the malfunctions that arose. Once an overhead section in Herfeldt’s studio was saturated enough it collapsed entirely, the single remedy involved installing the damaged part – and so the cycle continued.

At another site, the artist explains the water intrusion was severe so multiple shower basins were set up within the drop ceiling in order to redirect leaks to another outlet.

“I realised that the structure was like a body, a totally dysfunctional body,” the artist comments.

This scenario reminded her of a classic film, the director's first movie from the seventies featuring a smart spaceship that takes on a life of its own. And as you might notice through the heading – a trio of references – that’s not the only film impacting the artist's presentation. These titles point to the leading women in the slasher film, another scary movie plus the sci-fi hit in that order. Herfeldt cites a critical analysis by the American professor, which identifies these surviving characters a distinctive cinematic theme – female characters isolated to overcome.

“She’s a bit tomboyish, on the silent side and they endure because she’s quite clever,” she elaborates regarding this trope. No drug use occurs nor sexual activity. It is irrelevant the viewer’s gender, all empathize with this character.”

The artist identifies a similarity from these protagonists with her creations – objects which only holding in place amidst stress they’re under. Is the exhibition focused on societal collapse than just dripping roofs? Because like so many institutions, substances like silicone that should seal and protect us from damage are actually slowly eroding in our environment.

“Absolutely,” responds the artist.

Prior to discovering her medium with sealant applicators, the artist worked with other unusual materials. Recent shows included forms resembling tongues crafted from a synthetic material typical for on a sleeping bag or in coats. Similarly, one finds the feeling these peculiar objects could come alive – some are concertinaed resembling moving larvae, some droop heavily on vertical planes or extend through entries collecting debris from touch (The artist invites viewers to touch and soil the works). Like the silicone sculptures, these nylon creations are also housed in – leaving – inexpensive-seeming display enclosures. These are unattractive objects, which is intentional.

“They have a specific look that somehow you feel compelled by, while also they’re very disgusting,” the artist comments amusedly. “The art aims for not there, but it’s actually highly noticeable.”

Herfeldt is not making art to provide comfortable or visual calm. Conversely, she aims for uncomfortable, awkward, perhaps entertained. And if there's a moist sensation overhead additionally, remember the alert was given.