Exploring Lisa Herfeldt's Sinister Silicone-Gun Sculptures: Where Objects Seem Living

When considering restroom upgrades, you may want to avoid hiring the sculptor to handle it.

Indeed, Herfeldt is a whiz using sealant applicators, creating compelling sculptures with a surprising substance. But as you examine these pieces, the more you realise a certain aspect is a little unnerving.

The dense lengths from the foam she produces extend beyond the shelves where they rest, hanging over the sides below. The gnarled foam pipes bulge till they rupture. A few artworks break free from the display cases completely, turning into an attractor for dust and hair. It's safe to say the reviews would not be positive.

“I sometimes have an impression that objects seem animated in a room,” remarks Herfeldt. This is why I came to use this foam material due to its this very bodily feel and appearance.”

In fact there is an element rather body horror regarding the artist's creations, starting with the suggestive swelling that protrudes, similar to a rupture, from its cylindrical stand within the showspace, to the intestinal coils of foam that burst resembling bodily failures. Along a surface, are mounted prints showing the pieces seen from various perspectives: appearing as squirming organisms observed under magnification, or colonies on a petri-dish.

“It interests me is how certain elements in our bodies taking place that seem to hold their own life,” Herfeldt explains. Phenomena which remain unseen or command.”

Talking of elements beyond her influence, the poster featured in the exhibition includes a photograph showing a dripping roof at her creative space in Kreuzberg, Berlin. The building had been built in the early 1970s as she explains, was quickly despised by local people because a lot of older edifices got demolished for its development. By the time run-down as the artist – who was born in Munich but grew up near Hamburg before arriving in Berlin in her youth – took up residence.

The rundown building proved challenging for her work – placing artworks was difficult her art works without concern they might be damaged – but it was also compelling. Without any blueprints available, no one knew how to repair any of the issues that arose. After a part of the roof within her workspace became so sodden it collapsed entirely, the sole fix involved installing the damaged part – and so the cycle continued.

At another site, the artist explains dripping was extreme that a series of drainage containers were set up above the false roof to divert the water to a different sink.

“I realised that the structure acted as a physical form, a totally dysfunctional body,” Herfeldt states.

The situation evoked memories of a classic film, the initial work cinematic piece concerning a conscious ship that takes on a life of its own. As the exhibition's title suggests through the heading – a trio of references – that’s not the only film to have influenced Herfeldt’s show. The three names point to the leading women in Friday 13th, another scary movie and Alien respectively. Herfeldt cites an academic paper written by Carol J Clover, that describes the last women standing as a unique film trope – protagonists by themselves to overcome.

“She’s a bit tomboyish, rather quiet and she can survive thanks to resourcefulness,” the artist explains of the archetypal final girl. “They don’t take drugs nor sexual activity. Regardless who is watching, everyone can relate to this character.”

The artist identifies a connection linking these figures and her sculptures – objects which only maintaining position despite the pressures they’re under. So is her work focused on cultural decay beyond merely water damage? As with many structures, substances like silicone intended to secure and shield us from damage are actually slowly eroding within society.

“Absolutely,” says Herfeldt.

Prior to discovering her medium in the silicone gun, Herfeldt used different unconventional substances. Past displays have involved forms resembling tongues made from fabric similar to typical for in insulated clothing or inside a jacket. Similarly, one finds the sense these strange items seem lifelike – some are concertinaed as insects in motion, others lollop down off surfaces or spill across doorways attracting dirt from footprints (Herfeldt encourages viewers to touch leaving marks on pieces). As with earlier creations, the textile works are similarly displayed in – and escaping from – inexpensive-seeming transparent cases. The pieces are deliberately unappealing, which is intentional.

“They have a particular style that draws viewers very attracted to, yet simultaneously they’re very disgusting,” the artist comments grinning. “It attempts to seem not there, yet in reality highly noticeable.”

The artist does not create art to provide relaxation or visual calm. Instead, her intention is to evoke uncomfortable, odd, maybe even amused. But if you start to feel a moist sensation on your head too, don’t say you haven’t been warned.