Unveiling the Unsettling Silicone-Gun Artistry: In Which Objects Seem Living

When considering restroom upgrades, it's advisable to avoid engaging this German artist for such tasks.

Certainly, Herfeldt is an expert with a silicone gun, creating intriguing artworks from this unlikely art material. However longer you look at the artworks, the more it becomes apparent that an element seems somewhat off.

Those hefty strands made of silicone she produces stretch beyond their supports supporting them, sagging off the edges towards the floor. Those twisted foam pipes expand before bursting open. Some creations escape the display cases fully, turning into a collector of debris and fibers. One could imagine the feedback might not get pretty.

“I sometimes have the feeling that things seem animated inside an area,” says the German artist. Hence I started using this substance due to its a distinctly physical feel and appearance.”

Indeed there’s something almost visceral in Herfeldt’s work, including that protruding shape that protrudes, similar to a rupture, off its base in the centre of the gallery, and the winding tubes of foam that rupture like medical emergencies. Along a surface, Herfeldt has framed photocopies showing the pieces viewed from different angles: they look like wormy parasites observed under magnification, or colonies on a petri-dish.

What captivates me is the idea within us taking place which possess a life of their own,” the artist notes. Phenomena you can’t see or control.”

Talking of things she can’t control, the poster promoting the event features an image of water damage overhead at her creative space located in Berlin. It was made in the seventies and, she says, was instantly hated by local people as numerous old buildings were removed to allow its construction. By the time run-down upon her – a native of that city although she spent her youth in northern Germany then relocating to Berlin as a teenager – moved in.

This decrepit property proved challenging to Herfeldt – placing artworks was difficult the sculptures without concern they might be damaged – yet it also proved compelling. Without any blueprints available, no one knew the way to fix any of the issues which occurred. Once an overhead section at the artist's area became so sodden it gave way completely, the single remedy involved installing the damaged part – and so the cycle continued.

At another site, she describes the leaking was so bad so multiple collection units were set up within the drop ceiling to channel the moisture elsewhere.

“I realised that the building acted as a physical form, a completely flawed entity,” the artist comments.

The situation evoked memories of Dark Star, John Carpenter’s debut movie from the seventies concerning a conscious ship that takes on a life of its own. As the exhibition's title suggests given the naming – three distinct names – other cinematic works influenced impacting Herfeldt’s show. Those labels refer to main characters in the slasher film, the iconic thriller plus the sci-fi hit as listed. She mentions a critical analysis by the American professor, outlining the last women standing an original movie concept – protagonists by themselves to overcome.

“She’s a bit tomboyish, on the silent side enabling their survival thanks to resourcefulness,” the artist explains of the archetypal final girl. “They don’t take drugs or engage intimately. And it doesn’t matter who is watching, all empathize with the final girl.”

Herfeldt sees a similarity linking these figures with her creations – things that are just about staying put amidst stress they face. Is the exhibition focused on cultural decay rather than simply water damage? As with many structures, such components intended to secure and shield us from damage are gradually failing around us.

“Oh, totally,” she confirms.

Prior to discovering her medium in the silicone gun, the artist worked with different unconventional substances. Previous exhibitions featured organic-looking pieces using the kind of nylon fabric found in within outdoor gear or in coats. Once more, there's the feeling these strange items could come alive – some are concertinaed as insects in motion, some droop heavily from walls or extend through entries gathering grime from contact (The artist invites audiences to interact leaving marks on pieces). As with earlier creations, these nylon creations are also housed in – and escaping from – inexpensive-seeming display enclosures. They’re ugly looking things, which is intentional.

“The sculptures exhibit a certain aesthetic that draws viewers very attracted to, yet simultaneously being quite repulsive,” the artist comments grinning. “The art aims for absent, yet in reality very present.”

The artist does not create art to provide comfortable or beauty. Rather, she aims for uncomfortable, awkward, or even humor. However, should you notice a moist sensation from above too, don’t say the alert was given.