🔗 Share this article

When considering bathroom renovations, you may want to avoid engaging the sculptor for the job.

Indeed, Herfeldt is a whiz using sealant applicators, crafting fascinating creations out of an unusual substance. But as you look at the artworks, the clearer you realise a certain aspect is a little unnerving.

Those hefty lengths from the foam she produces reach past the shelves where they rest, sagging over the sides towards the floor. The knotty tubular forms bulge till they rupture. Some creations escape their acrylic glass box homes completely, evolving into a magnet of debris and fibers. Let's just say the reviews are unlikely to earn pretty.

There are moments I feel the feeling that items possess life inside an area,” remarks the sculptor. This is why I turned to silicone sealant because it has a distinctly physical texture and feeling.”

Indeed there is an element almost visceral regarding Herfeldt’s work, starting with the suggestive swelling which extends, similar to a rupture, off its base in the centre of the gallery, and the winding tubes made of silicone that burst as if in crisis. Displayed nearby, are mounted images depicting the sculptures viewed from different angles: they look like microscopic invaders observed under magnification, or growths on a petri-dish.

“It interests me is the idea within us taking place which possess independent existence,” the artist notes. “Things you can’t see or manage.”

On the subject of unmanageable factors, the poster featured in the exhibition features a photograph of water damage overhead within her workspace located in Berlin. The building had been made in the seventies as she explains, faced immediate dislike from residents as numerous historic structures were removed for its development. By the time in a state of disrepair as the artist – originally from Munich but grew up near Hamburg then relocating to Berlin during her teens – took up residence.

The rundown building proved challenging to Herfeldt – placing artworks was difficult her pieces without concern potential harm – but it was also compelling. With no building plans on hand, it was unclear how to repair the problems which occurred. After a part of the roof at the artist's area got thoroughly soaked it collapsed entirely, the sole fix involved installing the panel with a new one – thus repeating the process.

At another site, Herfeldt says the water intrusion was severe that a series of shower basins were set up above the false roof to channel leaks to another outlet.

I understood that the structure was like a body, an entirely malfunctioning system,” the artist comments.

The situation brought to mind the sci-fi movie, the director's first movie from the seventies featuring a smart spaceship which becomes autonomous. And as you might notice given the naming – three distinct names – more movies have inspired impacting Herfeldt’s show. These titles refer to main characters in the slasher film, another scary movie plus the sci-fi hit in that order. She mentions a 1987 essay from a scholar, that describes these surviving characters a distinctive cinematic theme – female characters isolated to overcome.

These figures are somewhat masculine, reserved in nature and they endure thanks to resourcefulness,” the artist explains regarding this trope. No drug use occurs nor sexual activity. And it doesn’t matter who is watching, we can all identify with this character.”

Herfeldt sees a connection linking these figures to her artworks – elements that barely maintaining position despite the pressures affecting them. Does this mean the art really concerning cultural decay rather than simply dripping roofs? Because like so many institutions, such components that should seal and protect us from damage in fact are decaying around us.

“Oh, totally,” she confirms.

Before finding inspiration using foam materials, Herfeldt used different unconventional substances. Past displays featured organic-looking pieces made from a synthetic material found in in insulated clothing or in coats. Again there is the impression these strange items seem lifelike – some are concertinaed as insects in motion, pieces hang loosely on vertical planes blocking passages collecting debris from touch (The artist invites audiences to interact leaving marks on pieces). Like the silicone sculptures, these nylon creations are similarly displayed in – leaving – inexpensive-seeming display enclosures. The pieces are deliberately unappealing, which is intentional.

“The sculptures exhibit a particular style that draws viewers highly drawn to, while also being quite repulsive,” the artist comments grinning. “It tries to be absent, however, it is highly noticeable.”

Herfeldt is not making art to provide comfortable or beauty. Instead, she aims for uncomfortable, awkward, or even humor. However, should you notice a moist sensation from above additionally, consider yourself the alert was given.