Delving into Lisa Herfeldt's Unsettling Sealant-Based Artistry: Where Things Feel Alive

When considering bathroom renovations, you may want not to choose hiring Lisa Herfeldt for such tasks.

Indeed, she's an expert using sealant applicators, creating compelling creations with a surprising medium. Yet the more observe her creations, the stronger you realise a certain aspect feels slightly unnerving.

The thick tubes made of silicone she produces stretch beyond display surfaces supporting them, drooping downwards to the ground. The gnarled foam pipes expand until they split. Some creations leave their acrylic glass box homes fully, evolving into a collector for grime and particles. One could imagine the reviews might not get pretty.

At times I get this sense that things seem animated within a space,” states the German artist. Hence I started using this foam material due to its this very bodily sensation and look.”

Indeed there is an element almost visceral regarding Herfeldt’s work, from the suggestive swelling which extends, similar to a rupture, from its cylindrical stand within the showspace, and the winding tubes of foam that rupture as if in crisis. Along a surface, Herfeldt has framed photocopies of the works captured in multiple views: they look like microscopic invaders picked up on a microscope, or formations on culture plates.

What captivates me is how certain elements inside human forms happening that seem to hold their own life,” Herfeldt explains. “Things that are invisible or command.”

On the subject of things she can’t control, the promotional image promoting the event displays a photograph of water damage overhead in her own studio in Kreuzberg, Berlin. The building had been erected decades ago and according to her, was quickly despised from residents since many older edifices were removed for its development. The place was dilapidated upon her – a native of that city although she spent her youth near Hamburg then relocating to Berlin in her youth – began using the space.

This deteriorating space was frustrating for her work – it was risky to display her art works without fearing they might be damaged – however, it was compelling. With no building plans available, no one knew methods to address any of the issues that arose. Once an overhead section in Herfeldt’s studio got thoroughly soaked it fell apart fully, the sole fix was to replace it with another – thus repeating the process.

Elsewhere on the property, Herfeldt says the water intrusion was severe so multiple collection units got placed within the drop ceiling in order to redirect the moisture elsewhere.

“I realised that this place resembled an organism, a completely flawed entity,” Herfeldt states.

The situation reminded her of a classic film, the initial work cinematic piece concerning a conscious ship that develops independence. And as you might notice given the naming – Alice, Laurie & Ripley – more movies have inspired shaping this exhibition. These titles indicate the leading women in the slasher film, another scary movie plus the sci-fi hit in that order. Herfeldt cites an academic paper by the American professor, which identifies these “final girls” a distinctive cinematic theme – protagonists by themselves to overcome.

“She’s a bit tomboyish, rather quiet and she can survive thanks to resourcefulness,” the artist explains regarding this trope. They avoid substances or have sex. Regardless the audience's identity, we can all identify with the final girl.”

The artist identifies a connection between these characters and her sculptures – things that are just about staying put despite the pressures they’re under. Does this mean the art really concerning cultural decay than just water damage? Because like so many institutions, these materials intended to secure and shield against harm are gradually failing within society.

“Absolutely,” responds the artist.

Before finding inspiration with sealant applicators, she experimented with other unusual materials. Recent shows featured forms resembling tongues made from the kind of nylon fabric found in in insulated clothing or inside a jacket. Once more, there's the impression these peculiar objects might animate – certain pieces are folded as insects in motion, pieces hang loosely on vertical planes or spill across doorways collecting debris from touch (She prompts people to handle leaving marks on pieces). As with earlier creations, the textile works are similarly displayed in – and breaking out of – cheap looking transparent cases. They’re ugly looking things, and that's the essence.

“These works possess a certain aesthetic that draws viewers very attracted to, yet simultaneously appearing gross,” she says grinning. “It tries to be absent, however, it is extremely obvious.”

Herfeldt's goal isn't art to provide relaxation or beauty. Instead, she aims for discomfort, awkward, or even humor. And if there's a moist sensation from above too, don’t say the alert was given.