Should you be thinking about washroom remodeling, you may want to avoid employing Lisa Herfeldt for such tasks.
Certainly, Herfeldt is a whiz using sealant applicators, creating compelling sculptures with a surprising art material. But longer you observe the artworks, the more it becomes apparent that an element feels slightly strange.
Those hefty lengths of sealant she produces stretch beyond display surfaces on which they sit, drooping off the edges below. Those twisted silicone strands swell before bursting open. A few artworks leave the display cases completely, turning into an attractor of debris and fibers. Let's just say the feedback are unlikely to earn pretty.
At times I get the feeling that items are alive inside an area,” says Herfeldt. “That’s why I started using this substance as it offers a distinctly physical sensation and look.”
Indeed there is an element almost visceral regarding these sculptures, from the suggestive swelling which extends, similar to a rupture, from the support at the exhibition's heart, and the winding tubes made of silicone which split open like medical emergencies. Displayed nearby, the artist presents photocopies of the works seen from various perspectives: they look like wormy parasites seen in scientific samples, or colonies in a lab setting.
“It interests me is how certain elements within us occurring which possess independent existence,” the artist notes. “Things that are invisible or command.”
Regarding unmanageable factors, the promotional image featured in the exhibition features a photograph of the leaky ceiling at her creative space in the German capital. The building had been built in the early 1970s as she explains, faced immediate dislike among the community as numerous older edifices got demolished to allow its construction. By the time run-down as the artist – originally from Munich although she spent her youth near Hamburg then relocating to Berlin in her youth – took up residence.
This decrepit property was frustrating to Herfeldt – it was risky to display her pieces without fearing they might be damaged – but it was also fascinating. Without any blueprints available, nobody had a clue the way to fix any of the issues which occurred. After a part of the roof within her workspace was saturated enough it collapsed entirely, the single remedy involved installing it with another – thus repeating the process.
At another site, the artist explains dripping was extreme so multiple collection units were installed above the false roof to divert leaks to another outlet.
I understood that this place acted as a physical form, a completely flawed entity,” she says.
This scenario evoked memories of Dark Star, the initial work cinematic piece concerning a conscious ship that develops independence. Additionally, observers may note from the show’s title – Alice, Laurie & Ripley – more movies have inspired to have influenced the artist's presentation. These titles point to the female protagonists in Friday 13th, another scary movie plus the sci-fi hit in that order. She mentions an academic paper written by Carol J Clover, outlining the last women standing as a unique film trope – protagonists by themselves to save the day.
“She’s a bit tomboyish, rather quiet and she can survive because she’s quite clever,” the artist explains regarding this trope. They avoid substances nor sexual activity. Regardless the audience's identity, everyone can relate to this character.”
Herfeldt sees a parallel linking these figures with her creations – objects which only holding in place under strain they’re under. Does this mean the art more about social breakdown than just dripping roofs? Similar to various systems, substances like silicone that should seal and protect from deterioration in fact are decaying within society.
“Absolutely,” she confirms.
Before finding inspiration using foam materials, Herfeldt used other unusual materials. Past displays included tongue-like shapes made from fabric similar to found in within outdoor gear or apparel lining. Similarly, one finds the impression these peculiar objects could come alive – some are concertinaed as insects in motion, pieces hang loosely from walls or spill across doorways gathering grime from contact (The artist invites audiences to interact and dirty her art). Like the silicone sculptures, these nylon creations are similarly displayed in – and breaking out of – cheap looking acrylic glass boxes. The pieces are deliberately unappealing, and that's the essence.
“They have a particular style that somehow you feel very attracted to, while also appearing gross,” Herfeldt remarks with a smile. “It tries to be not there, however, it is very present.”
The artist does not create pieces that offer comfortable or aesthetically soothed. Conversely, she aims for uncomfortable, awkward, maybe even amused. However, should you notice water droplets from above additionally, don’t say you haven’t been warned.
