Exploring Lisa Herfeldt's Eerie Sealant-Based Sculptures: Where Objects Feel Living

If you're planning washroom remodeling, it's advisable to steer clear of engaging this German artist to handle it.

Indeed, Herfeldt is highly skilled using sealant applicators, producing intriguing artworks from this unlikely medium. But longer you examine the artworks, the stronger it becomes apparent that an element seems somewhat strange.

The dense strands from the foam Herfeldt forms stretch past the shelves where they rest, hanging off the edges to the ground. The gnarled silicone strands bulge before bursting open. A few artworks break free from their acrylic glass box homes entirely, turning into a collector for dust and hair. Let's just say the ratings might not get positive.

“I sometimes have this sense that things possess life inside an area,” states the sculptor. Hence I turned to this substance due to its this very bodily sensation and look.”

Indeed there’s something almost visceral regarding the artist's creations, starting with that protruding shape which extends, similar to a rupture, off its base within the showspace, or the gut-like spirals of foam that burst as if in crisis. Displayed nearby, the artist presents photocopies of the works viewed from different angles: they look like wormy parasites picked up on a microscope, or colonies on a petri-dish.

“It interests me is the idea inside human forms taking place that seem to hold independent existence,” the artist notes. Elements that are invisible or command.”

On the subject of things she can’t control, the exhibition advertisement for the show includes a photograph of the leaky ceiling in her own studio in Kreuzberg, Berlin. Constructed made in the seventies as she explains, was instantly hated among the community as numerous old buildings were torn down to allow its construction. The place was run-down upon her – a native of that city yet raised north of Hamburg prior to moving to the capital as a teenager – took up residence.

This deteriorating space proved challenging for her work – placing artworks was difficult the sculptures without fearing risk of ruin – yet it also proved compelling. Without any blueprints accessible, nobody had a clue how to repair any of the issues that developed. Once an overhead section within her workspace was saturated enough it fell apart fully, the only solution involved installing it with another – thus repeating the process.

At another site, she describes the water intrusion was severe so multiple shower basins got placed above the false roof in order to redirect the water to a different sink.

I understood that the building was like a body, an entirely malfunctioning system,” Herfeldt states.

This scenario reminded her of a classic film, John Carpenter’s debut cinematic piece featuring a smart spaceship which becomes autonomous. Additionally, observers may note from the show’s title – Alice, Laurie & Ripley – other cinematic works influenced shaping this exhibition. Those labels refer to main characters in Friday 13th, another scary movie and Alien respectively. Herfeldt cites an academic paper written by Carol J Clover, which identifies these “final girls” a distinctive cinematic theme – female characters isolated to save the day.

They often display toughness, on the silent side enabling their survival because she’s quite clever,” says Herfeldt about such characters. No drug use occurs nor sexual activity. And it doesn’t matter the audience's identity, everyone can relate to the survivor.”

The artist identifies a similarity between these characters with her creations – objects which only maintaining position despite the pressures they’re under. So is her work really concerning social breakdown than just dripping roofs? As with many structures, such components meant to insulate and guard from deterioration are gradually failing around us.

“Oh, totally,” responds the artist.

Prior to discovering her medium in the silicone gun, Herfeldt used different unconventional substances. Recent shows featured forms resembling tongues using a synthetic material you might see within outdoor gear or apparel lining. Similarly, one finds the feeling these strange items might animate – certain pieces are folded resembling moving larvae, pieces hang loosely from walls or spill across doorways gathering grime from contact (The artist invites viewers to touch and dirty her art). Similar to the foam artworks, these nylon creations are also housed in – leaving – cheap looking display enclosures. The pieces are deliberately unappealing, and really that’s the point.

“They have a specific look that draws viewers very attracted to, yet simultaneously appearing gross,” the artist comments with a smile. “The art aims for invisible, yet in reality very present.”

Herfeldt is not making pieces that offer relaxation or beauty. Rather, she aims for discomfort, strange, or even humor. However, should you notice something wet dripping overhead additionally, consider yourself you haven’t been warned.