Unveiling Lisa Herfeldt's Unsettling Silicone-Gun Artistry: Where Things Seem Animated

If you're planning washroom remodeling, you may want to steer clear of engaging Lisa Herfeldt to handle it.

Truly, she's a whiz in handling foam materials, creating fascinating creations out of an unusual medium. But the more examine these pieces, the clearer it becomes apparent that something is a little unnerving.

The dense lengths from the foam she crafts extend past display surfaces where they rest, drooping off the edges towards the floor. The gnarled foam pipes expand till they rupture. Some creations leave their transparent enclosures completely, turning into an attractor of debris and fibers. It's safe to say the feedback would not be favorable.

At times I get this sense that items possess life in a room,” states the sculptor. Hence I came to use this foam material because it has such an organic texture and feeling.”

In fact one can detect rather body horror about the artist's creations, starting with the suggestive swelling jutting out, like a medical condition, from the support at the exhibition's heart, and the winding tubes made of silicone that burst like medical emergencies. Displayed nearby, are mounted prints of the works viewed from different angles: resembling wormy parasites seen in scientific samples, or formations on a petri-dish.

I am fascinated by is how certain elements inside human forms occurring that also have a life of their own,” Herfeldt explains. Phenomena you can’t see or command.”

Regarding elements beyond her influence, the poster for the show includes a photograph of water damage overhead in her own studio located in Berlin. It was made in the seventies and, she says, faced immediate dislike among the community because a lot of historic structures were torn down to allow its construction. By the time run-down when Herfeldt – who was born in Munich but grew up in northern Germany prior to moving to the capital in her youth – took up residence.

This deteriorating space caused issues to Herfeldt – it was risky to display her art works without fearing potential harm – however, it was intriguing. Lacking architectural drawings accessible, it was unclear methods to address the malfunctions that developed. Once an overhead section within her workspace became so sodden it gave way completely, the sole fix involved installing the damaged part – perpetuating the issue.

In a different area, Herfeldt says the leaking was so bad that several drainage containers got placed above the false roof to divert the water to a different sink.

“I realised that this place resembled an organism, a totally dysfunctional body,” the artist comments.

This scenario reminded her of the sci-fi movie, the director's first movie from the seventies featuring a smart spaceship that develops independence. Additionally, observers may note from the show’s title – Alice, Laurie & Ripley – other cinematic works influenced to have influenced this exhibition. These titles refer to the leading women in the slasher film, the iconic thriller plus the sci-fi hit respectively. Herfeldt cites a 1987 essay by the American professor, that describes these “final girls” an original movie concept – protagonists by themselves to triumph.

They often display toughness, on the silent side enabling their survival due to intelligence,” says Herfeldt regarding this trope. No drug use occurs nor sexual activity. And it doesn’t matter the viewer’s gender, we can all identify with the final girl.”

She draws a parallel linking these figures to her artworks – objects which only holding in place amidst stress affecting them. Is the exhibition focused on social breakdown rather than simply dripping roofs? Because like so many institutions, these materials intended to secure and shield us from damage are gradually failing in our environment.

“Absolutely,” she confirms.

Earlier in her career using foam materials, the artist worked with alternative odd mediums. Past displays have involved forms resembling tongues made from fabric similar to found in within outdoor gear or apparel lining. Similarly, one finds the feeling these strange items might animate – certain pieces are folded as insects in motion, pieces hang loosely off surfaces or spill across doorways attracting dirt from footprints (She prompts audiences to interact and dirty her art). Like the silicone sculptures, these nylon creations are similarly displayed in – leaving – inexpensive-seeming transparent cases. These are unattractive objects, and that's the essence.

“They have a specific look which makes one very attracted to, and at the same time they’re very disgusting,” Herfeldt remarks grinning. “It attempts to seem absent, but it’s actually highly noticeable.”

Herfeldt is not making pieces that offer comfortable or aesthetically soothed. Rather, she aims for uncomfortable, strange, or even humor. However, should you notice a moist sensation overhead too, consider yourself this was foreshadowed.