Exploring Lisa Herfeldt's Sinister Silicone-Gun Sculptures: In Which Objects Seem Animated

Should you be thinking about washroom remodeling, you may want to avoid engaging the sculptor to handle it.

Indeed, Herfeldt is a whiz in handling foam materials, crafting fascinating artworks with a surprising art material. But longer you look at her creations, the stronger you realise a certain aspect is a little unnerving.

The thick strands from the foam Herfeldt forms reach beyond their supports on which they sit, hanging off the edges towards the floor. The gnarled tubular forms swell till they rupture. A few artworks escape their acrylic glass box homes fully, evolving into a collector of debris and fibers. Let's just say the reviews would not be pretty.

There are moments I feel the feeling that items seem animated inside an area,” remarks Herfeldt. This is why I started using silicone sealant due to its such an organic sensation and look.”

In fact there is an element somewhat grotesque in these sculptures, from the suggestive swelling jutting out, hernia-like, off its base in the centre of the gallery, to the intestinal coils from the material that burst as if in crisis. Displayed nearby, are mounted images depicting the sculptures seen from various perspectives: they look like wormy parasites picked up on a microscope, or colonies in a lab setting.

“It interests me is the idea inside human forms occurring which possess their own life,” Herfeldt explains. Phenomena you can’t see or manage.”

Regarding unmanageable factors, the poster for the show displays a picture of water damage overhead at her creative space in the German capital. Constructed built in the early 1970s as she explains, faced immediate dislike from residents as numerous historic structures were removed in order to make way for it. By the time dilapidated as the artist – originally from Munich but grew up north of Hamburg then relocating to Berlin as a teenager – moved in.

This decrepit property proved challenging for the artist – it was risky to display her pieces without concern potential harm – but it was also compelling. Lacking architectural drawings on hand, no one knew the way to fix the problems which occurred. When the ceiling panel within her workspace became so sodden it gave way completely, the sole fix meant swapping the damaged part – and so the cycle continued.

At another site, the artist explains dripping was extreme that several collection units were installed within the drop ceiling in order to redirect leaks to another outlet.

“I realised that the structure resembled an organism, a totally dysfunctional body,” Herfeldt states.

The situation reminded her of Dark Star, John Carpenter’s debut 1974 film concerning a conscious ship which becomes autonomous. As the exhibition's title suggests given the naming – a trio of references – other cinematic works influenced impacting this exhibition. Those labels indicate the leading women from a horror classic, another scary movie plus the sci-fi hit as listed. The artist references a critical analysis written by Carol J Clover, outlining the last women standing an original movie concept – protagonists by themselves to overcome.

“She’s a bit tomboyish, rather quiet and she can survive thanks to resourcefulness,” the artist explains regarding this trope. “They don’t take drugs nor sexual activity. And it doesn’t matter the audience's identity, we can all identify with the survivor.”

She draws a similarity between these characters with her creations – objects which only staying put amidst stress they face. Is the exhibition more about societal collapse beyond merely leaky ceilings? As with many structures, these materials intended to secure and shield from deterioration in fact are decaying around us.

“Absolutely,” responds the artist.

Prior to discovering her medium with sealant applicators, the artist worked with alternative odd mediums. Past displays have involved forms resembling tongues using fabric similar to you might see on a sleeping bag or inside a jacket. Similarly, one finds the feeling such unusual creations might animate – certain pieces are folded resembling moving larvae, some droop heavily from walls blocking passages collecting debris from touch (She prompts audiences to interact and dirty her art). Like the silicone sculptures, the textile works are similarly displayed in – and breaking out of – cheap looking acrylic glass boxes. They’re ugly looking things, and that's the essence.

“They have a particular style that draws viewers very attracted to, yet simultaneously they’re very disgusting,” Herfeldt remarks with a smile. “The art aims for invisible, yet in reality highly noticeable.”

The artist does not create work to make you feel ease or aesthetically soothed. Rather, she aims for discomfort, strange, or even humor. And if there's a moist sensation overhead as well, remember you haven’t been warned.