Unveiling the Sinister Silicone-Gun Artistry: In Which Objects Feel Alive

When considering restroom upgrades, it might be wise to steer clear of engaging the sculptor for the job.

Indeed, she's highly skilled in handling foam materials, crafting compelling sculptures with a surprising medium. But the more examine the artworks, the clearer one notices that an element is a little strange.

The thick lengths of sealant Herfeldt forms stretch over display surfaces where they rest, hanging off the edges to the ground. The gnarled silicone strands swell till they rupture. Some creations leave the display cases completely, turning into an attractor for grime and particles. One could imagine the ratings would not be favorable.

“I sometimes have the feeling that things seem animated within a space,” states Herfeldt. This is why I turned to silicone sealant as it offers this very bodily sensation and look.”

Indeed there’s something almost visceral about these sculptures, from that protruding shape which extends, like a medical condition, off its base within the showspace, to the intestinal coils of foam that rupture resembling bodily failures. Displayed nearby, are mounted photocopies showing the pieces viewed from different angles: they look like wormy parasites picked up on a microscope, or colonies on culture plates.

I am fascinated by that there are things in our bodies occurring which possess their own life,” the artist notes. “Things which remain unseen or command.”

Talking of unmanageable factors, the exhibition advertisement featured in the exhibition includes an image of water damage overhead in her own studio in Kreuzberg, Berlin. The building had been made in the seventies and, she says, was instantly hated by local people because a lot of old buildings got demolished for its development. By the time dilapidated as the artist – a native of that city yet raised near Hamburg then relocating to Berlin as a teenager – took up residence.

This deteriorating space proved challenging for her work – placing artworks was difficult her pieces without fearing potential harm – however, it was compelling. With no building plans on hand, nobody had a clue methods to address any of the issues that arose. Once an overhead section at the artist's area got thoroughly soaked it gave way completely, the sole fix involved installing the panel with a new one – perpetuating the issue.

In a different area, Herfeldt says the leaking was so bad that several shower basins were set up in the suspended ceiling to channel leaks to another outlet.

“I realised that the structure resembled an organism, an entirely malfunctioning system,” Herfeldt states.

This scenario brought to mind the sci-fi movie, the initial work 1974 film concerning a conscious ship which becomes autonomous. As the exhibition's title suggests through the heading – Alice, Laurie & Ripley – that’s not the only film shaping this exhibition. Those labels point to the leading women in the slasher film, another scary movie plus the sci-fi hit respectively. The artist references an academic paper by the American professor, outlining these surviving characters an original movie concept – women left alone to overcome.

They often display toughness, rather quiet enabling their survival thanks to resourcefulness,” says Herfeldt about such characters. They avoid substances or have sex. Regardless the audience's identity, we can all identify with the final girl.”

She draws a parallel from these protagonists to her artworks – things that are just about holding in place under strain affecting them. Does this mean the art really concerning cultural decay beyond merely leaky ceilings? Because like so many institutions, substances like silicone that should seal and protect from deterioration are actually slowly eroding around us.

“Completely,” responds the artist.

Prior to discovering her medium with sealant applicators, the artist worked with other unusual materials. Recent shows featured forms resembling tongues crafted from a synthetic material you might see in insulated clothing or inside a jacket. Similarly, one finds the sense these peculiar objects seem lifelike – some are concertinaed like caterpillars mid-crawl, some droop heavily from walls or extend through entries collecting debris from touch (The artist invites people to handle and soil the works). As with earlier creations, these nylon creations are similarly displayed in – and breaking out of – cheap looking acrylic glass boxes. These are unattractive objects, and really that’s the point.

“They have a particular style which makes one very attracted to, and at the same time being quite repulsive,” the artist comments with a smile. “The art aims for absent, yet in reality extremely obvious.”

Herfeldt is not making art to provide ease or aesthetically soothed. Instead, she wants you to feel uncomfortable, awkward, or even humor. However, should you notice water droplets from above too, don’t say you haven’t been warned.