Unveiling Lisa Herfeldt's Unsettling Sealant-Based Artistry: Where Things Appear Animated

Should you be thinking about washroom remodeling, you may want not to choose employing Lisa Herfeldt for the job.

Truly, she's an expert with a silicone gun, crafting compelling sculptures with a surprising art material. Yet the more look at the artworks, the more one notices that something feels slightly unnerving.

Those hefty strands made of silicone Herfeldt forms reach over the shelves supporting them, sagging off the edges towards the floor. The knotty foam pipes swell until they split. Some creations escape their acrylic glass box homes completely, turning into an attractor for dust and hair. Let's just say the feedback might not get pretty.

At times I get this sense that objects are alive in a room,” says the German artist. Hence I started using silicone sealant because it has such an organic sensation and look.”

Indeed there is an element almost visceral regarding the artist's creations, including that protruding shape jutting out, like a medical condition, from the support in the centre of the gallery, to the intestinal coils of foam that burst resembling bodily failures. On one wall, are mounted images of the works viewed from different angles: resembling wormy parasites seen in scientific samples, or formations in a lab setting.

“It interests me is how certain elements inside human forms taking place that seem to hold a life of their own,” she says. “Things which remain unseen or control.”

On the subject of elements beyond her influence, the poster promoting the event features a picture of water damage overhead in her own studio located in Berlin. It was made in the seventies as she explains, faced immediate dislike from residents since many historic structures got demolished for its development. By the time run-down when Herfeldt – originally from Munich yet raised in northern Germany then relocating to Berlin during her teens – moved in.

The rundown building proved challenging to Herfeldt – she couldn’t hang her art works anxiously risk of ruin – however, it was intriguing. With no building plans available, no one knew methods to address the problems that arose. After a part of the roof within her workspace became so sodden it fell apart fully, the single remedy was to replace it with another – thus repeating the process.

At another site, the artist explains dripping was extreme that several collection units were set up within the drop ceiling to channel leaks to another outlet.

I understood that this place resembled an organism, a totally dysfunctional body,” she says.

This scenario reminded her of the sci-fi movie, the director's first 1974 film concerning a conscious ship that takes on a life of its own. Additionally, observers may note given the naming – Alice, Laurie & Ripley – other cinematic works influenced to have influenced the artist's presentation. The three names refer to the leading women in Friday 13th, the iconic thriller plus the sci-fi hit as listed. She mentions a 1987 essay written by Carol J Clover, which identifies the last women standing an original movie concept – women left alone to save the day.

These figures are somewhat masculine, rather quiet and she can survive because she’s quite clever,” the artist explains of the archetypal final girl. “They don’t take drugs nor sexual activity. Regardless the viewer’s gender, we can all identify with this character.”

She draws a similarity between these characters and her sculptures – elements that barely holding in place despite the pressures affecting them. So is her work more about social breakdown rather than simply water damage? As with many structures, such components intended to secure and shield from deterioration in fact are decaying in our environment.

“Absolutely,” she confirms.

Before finding inspiration with sealant applicators, Herfeldt used other unusual materials. Previous exhibitions have involved organic-looking pieces crafted from a synthetic material found in on a sleeping bag or inside a jacket. Again there is the impression such unusual creations seem lifelike – certain pieces are folded resembling moving larvae, pieces hang loosely from walls blocking passages gathering grime from contact (The artist invites people to handle and dirty her art). As with earlier creations, those fabric pieces are also housed in – and escaping from – cheap looking display enclosures. They’re ugly looking things, and really that’s the point.

“These works possess a particular style that draws viewers compelled by, and at the same time appearing gross,” she says amusedly. “The art aims for absent, but it’s actually highly noticeable.”

The artist does not create art to provide ease or aesthetically soothed. Instead, her intention is to evoke unease, odd, maybe even amused. However, should you notice water droplets overhead additionally, consider yourself you haven’t been warned.