🔗 Share this article

When considering restroom upgrades, it's advisable not to choose engaging the sculptor for such tasks.

Indeed, Herfeldt is a whiz with a silicone gun, producing fascinating sculptures from this unlikely medium. But the more observe her creations, the more one notices that something is a little unnerving.

The dense lengths made of silicone she crafts reach beyond their supports on which they sit, hanging over the sides towards the floor. Those twisted foam pipes expand until they split. A few artworks break free from the display cases entirely, evolving into a magnet for dust and hair. It's safe to say the ratings might not get pretty.

“I sometimes have an impression that objects are alive inside an area,” remarks Herfeldt. “That’s why I came to use this substance because it has such an organic feel and appearance.”

Certainly there’s something almost visceral regarding these sculptures, including the suggestive swelling which extends, similar to a rupture, from the support within the showspace, or the gut-like spirals from the material that burst like medical emergencies. On one wall, the artist presents photocopies of the works captured in multiple views: resembling microscopic invaders observed under magnification, or growths in a lab setting.

What captivates me that there are things inside human forms occurring which possess their own life,” Herfeldt explains. Phenomena you can’t see or control.”

Regarding unmanageable factors, the promotional image for the show includes a picture showing a dripping roof in her own studio in the German capital. Constructed made in the seventies and according to her, was quickly despised among the community since many older edifices got demolished in order to make way for it. The place was in a state of disrepair when Herfeldt – who was born in Munich yet raised in northern Germany then relocating to Berlin in her youth – moved in.

This decrepit property was frustrating for her work – placing artworks was difficult her art works without concern potential harm – however, it was fascinating. Lacking architectural drawings available, it was unclear how to repair the problems which occurred. Once an overhead section in Herfeldt’s studio became so sodden it gave way completely, the only solution involved installing the damaged part – perpetuating the issue.

At another site, Herfeldt says the water intrusion was severe that several shower basins were installed within the drop ceiling in order to redirect leaks to another outlet.

It dawned on me that the structure acted as a physical form, an entirely malfunctioning system,” she says.

The situation reminded her of Dark Star, John Carpenter’s debut 1974 film featuring a smart spaceship that develops independence. Additionally, observers may note from the show’s title – Alice, Laurie & Ripley – more movies have inspired shaping this exhibition. Those labels refer to the female protagonists in Friday 13th, another scary movie and Alien as listed. Herfeldt cites a critical analysis by the American professor, which identifies the last women standing a distinctive cinematic theme – protagonists by themselves to overcome.

They often display toughness, on the silent side enabling their survival due to intelligence,” she elaborates about such characters. No drug use occurs or engage intimately. It is irrelevant the viewer’s gender, we can all identify with the final girl.”

She draws a parallel between these characters and her sculptures – things that are just about staying put under strain affecting them. So is her work focused on cultural decay rather than simply water damage? Similar to various systems, such components that should seal and protect against harm in fact are decaying within society.

“Absolutely,” she confirms.

Before finding inspiration with sealant applicators, Herfeldt used alternative odd mediums. Recent shows included organic-looking pieces using the kind of nylon fabric typical for in insulated clothing or apparel lining. Once more, there's the feeling these peculiar objects might animate – some are concertinaed as insects in motion, pieces hang loosely from walls blocking passages attracting dirt from footprints (She prompts people to handle leaving marks on pieces). Like the silicone sculptures, these nylon creations are also housed in – and escaping from – budget-style acrylic glass boxes. These are unattractive objects, and really that’s the point.

“These works possess a certain aesthetic which makes one compelled by, while also being quite repulsive,” Herfeldt remarks grinning. “It attempts to seem invisible, however, it is extremely obvious.”

Herfeldt's goal isn't pieces that offer ease or visual calm. Instead, she wants you to feel uncomfortable, odd, perhaps entertained. However, should you notice something wet dripping from above additionally, remember you haven’t been warned.