🔗 Share this article

If you're planning washroom remodeling, it might be wise to avoid hiring this German artist to handle it.

Indeed, Herfeldt is an expert using sealant applicators, creating intriguing sculptures with a surprising substance. Yet longer you look at her creations, the clearer you realise a certain aspect is a little off.

Those hefty strands made of silicone Herfeldt forms stretch past their supports supporting them, sagging over the sides below. The knotty silicone strands bulge until they split. Certain pieces leave their transparent enclosures entirely, becoming a collector for dust and hair. It's safe to say the feedback might not get positive.

There are moments I feel this sense that things seem animated within a space,” remarks the sculptor. This is why I started using this foam material because it has a distinctly physical sensation and look.”

Indeed there’s something rather body horror in Herfeldt’s work, starting with that protruding shape jutting out, hernia-like, from the support within the showspace, to the intestinal coils made of silicone which split open like medical emergencies. Along a surface, are mounted images depicting the sculptures seen from various perspectives: appearing as squirming organisms seen in scientific samples, or formations in a lab setting.

“It interests me is the idea inside human forms occurring that also have independent existence,” the artist notes. Elements that are invisible or command.”

Talking of things she can’t control, the promotional image for the show features a photograph showing a dripping roof within her workspace in Kreuzberg, Berlin. It was made in the seventies as she explains, was instantly hated by local people because a lot of older edifices were torn down in order to make way for it. By the time run-down upon her – originally from Munich but grew up near Hamburg before arriving in Berlin during her teens – began using the space.

This deteriorating space proved challenging to Herfeldt – placing artworks was difficult her art works without concern potential harm – but it was also fascinating. Lacking architectural drawings on hand, no one knew methods to address the problems which occurred. Once an overhead section in Herfeldt’s studio got thoroughly soaked it fell apart fully, the only solution involved installing the panel with a new one – and so the cycle continued.

In a different area, the artist explains dripping was extreme that a series of collection units got placed within the drop ceiling to channel leaks to another outlet.

It dawned on me that the structure acted as a physical form, an entirely malfunctioning system,” Herfeldt states.

This scenario reminded her of Dark Star, the initial work cinematic piece featuring a smart spaceship that takes on a life of its own. And as you might notice from the show’s title – Alice, Laurie & Ripley – other cinematic works influenced shaping this exhibition. Those labels indicate the female protagonists in the slasher film, Halloween plus the sci-fi hit in that order. Herfeldt cites a 1987 essay from a scholar, outlining the last women standing an original movie concept – female characters isolated to overcome.

These figures are somewhat masculine, rather quiet enabling their survival due to intelligence,” the artist explains regarding this trope. “They don’t take drugs or have sex. And it doesn’t matter who is watching, everyone can relate to the survivor.”

Herfeldt sees a similarity between these characters to her artworks – elements that barely staying put under strain they’re under. Does this mean the art focused on societal collapse than just leaky ceilings? As with many structures, such components that should seal and protect against harm are actually slowly eroding within society.

“Completely,” says Herfeldt.

Earlier in her career in the silicone gun, the artist worked with other unusual materials. Past displays have involved tongue-like shapes made from fabric similar to found in on a sleeping bag or in coats. Once more, there's the sense these peculiar objects might animate – some are concertinaed resembling moving larvae, pieces hang loosely from walls blocking passages attracting dirt from footprints (She prompts people to handle and soil the works). Similar to the foam artworks, these nylon creations also occupy – leaving – budget-style display enclosures. These are unattractive objects, and really that’s the point.

“These works possess a specific look which makes one compelled by, and at the same time being quite repulsive,” Herfeldt remarks amusedly. “It attempts to seem invisible, but it’s actually extremely obvious.”

Herfeldt is not making work to make you feel relaxation or aesthetically soothed. Conversely, her intention is to evoke uncomfortable, awkward, perhaps entertained. But if you start to feel a moist sensation overhead additionally, consider yourself you haven’t been warned.