🔗 Share this article

Should you be thinking about restroom upgrades, you may want not to choose hiring this German artist for the job.

Truly, she's an expert with a silicone gun, crafting intriguing sculptures with a surprising medium. However longer you observe these pieces, the stronger one notices a certain aspect is a little strange.

The thick lengths of sealant Herfeldt forms extend past the shelves on which they sit, sagging downwards below. The gnarled silicone strands expand before bursting open. A few artworks break free from their transparent enclosures completely, becoming a collector for grime and particles. It's safe to say the feedback are unlikely to earn favorable.

At times I get the feeling that items possess life inside an area,” says the sculptor. Hence I turned to silicone sealant because it has such an organic texture and feeling.”

Certainly there’s something almost visceral about these sculptures, starting with the phallic bulge jutting out, hernia-like, from the support within the showspace, or the gut-like spirals from the material that burst as if in crisis. Along a surface, the artist presents photocopies of the works captured in multiple views: resembling squirming organisms seen in scientific samples, or colonies on culture plates.

I am fascinated by is the idea within us taking place which possess a life of their own,” Herfeldt explains. Phenomena that are invisible or control.”

On the subject of things she can’t control, the promotional image promoting the event includes a photograph of water damage overhead within her workspace in the German capital. The building had been built in the early 1970s and, she says, was instantly hated by local people since many older edifices were removed to allow its construction. By the time run-down when Herfeldt – a native of that city but grew up north of Hamburg before arriving in Berlin during her teens – took up residence.

The rundown building proved challenging for the artist – she couldn’t hang her pieces without concern potential harm – yet it also proved compelling. With no building plans accessible, it was unclear methods to address the malfunctions which occurred. After a part of the roof at the artist's area got thoroughly soaked it gave way completely, the single remedy meant swapping the panel with a new one – thus repeating the process.

Elsewhere on the property, Herfeldt says the leaking was so bad so multiple drainage containers were set up in the suspended ceiling in order to redirect leaks to another outlet.

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

The situation brought to mind Dark Star, the initial work cinematic piece featuring a smart spaceship that takes on a life of its own. Additionally, observers may note from the show’s title – a trio of references – more movies have inspired to have influenced Herfeldt’s show. The three names indicate the female protagonists in Friday 13th, Halloween and the extraterrestrial saga in that order. Herfeldt cites a critical analysis written by Carol J Clover, outlining these “final girls” a distinctive cinematic theme – protagonists by themselves to triumph.

They often display toughness, reserved in nature enabling their survival due to intelligence,” says Herfeldt regarding this trope. They avoid substances or have sex. And it doesn’t matter the viewer’s gender, we can all identify with the survivor.”

Herfeldt sees a similarity linking these figures and her sculptures – elements that barely staying put amidst stress affecting them. Does this mean the art more about societal collapse beyond merely leaky ceilings? Because like so many institutions, these materials intended to secure and shield us from damage are actually slowly eroding within society.

“Oh, totally,” says Herfeldt.

Earlier in her career with sealant applicators, Herfeldt used different unconventional substances. Previous exhibitions have involved forms resembling tongues using fabric similar to typical for in insulated clothing or apparel lining. Again there is the feeling these strange items seem lifelike – certain pieces are folded like caterpillars mid-crawl, others lollop down from walls or extend through entries collecting debris from touch (She prompts viewers to touch and dirty her art). Similar to the foam artworks, these nylon creations also occupy – and escaping from – cheap looking transparent cases. They’re ugly looking things, which is intentional.

“They have a certain aesthetic that draws viewers highly drawn to, yet simultaneously appearing gross,” Herfeldt remarks with a smile. “It tries to be not there, yet in reality very present.”

Herfeldt's goal isn't pieces that offer relaxation or beauty. Rather, she aims for discomfort, odd, maybe even amused. And if there's something wet dripping on your head too, don’t say the alert was given.