🔗 Share this article

When considering bathroom renovations, it's advisable to avoid engaging this German artist for the job.

Truly, she's highly skilled with a silicone gun, crafting compelling creations out of an unusual medium. But longer you observe the artworks, the stronger one notices a certain aspect seems somewhat off.

The thick strands from the foam Herfeldt forms extend over display surfaces on which they sit, sagging downwards to the ground. Those twisted foam pipes expand until they split. A few artworks break free from their acrylic glass box homes entirely, becoming a collector of debris and fibers. One could imagine the reviews would not be pretty.

There are moments I feel an impression that things seem animated within a space,” says the German artist. Hence I turned to this foam material due to its such an organic feel and appearance.”

Indeed there’s something almost visceral in these sculptures, from that protruding shape that protrudes, hernia-like, off its base within the showspace, and the winding tubes of foam which split open resembling bodily failures. Displayed nearby, the artist presents images depicting the sculptures seen from various perspectives: they look like squirming organisms seen in scientific samples, or colonies on culture plates.

What captivates me that there are things inside human forms happening which possess their own life,” she says. Elements you can’t see or control.”

Talking of things she can’t control, the exhibition advertisement promoting the event displays a photograph of water damage overhead in her own studio in Kreuzberg, Berlin. It was built in the early 1970s and according to her, was quickly despised among the community because a lot of older edifices were removed in order to make way for it. By the time dilapidated as the artist – who was born in Munich although she spent her youth near Hamburg then relocating to Berlin during her teens – began using the space.

The rundown building was frustrating for the artist – placing artworks was difficult her art works without fearing risk of ruin – however, it was compelling. Without any blueprints on hand, it was unclear methods to address the problems that developed. When the ceiling panel in Herfeldt’s studio got thoroughly soaked it fell apart fully, the only solution involved installing the panel with a new one – thus repeating the process.

At another site, the artist explains dripping was extreme that a series of collection units were set up in the suspended ceiling in order to redirect leaks to another outlet.

It dawned on me that the building was like a body, a completely flawed entity,” Herfeldt states.

This scenario brought to mind a classic film, the initial work 1974 film concerning a conscious ship that takes on a life of its own. Additionally, observers may note through the heading – three distinct names – more movies have inspired to have influenced the artist's presentation. These titles refer to the leading women in the slasher film, Halloween and the extraterrestrial saga respectively. She mentions a 1987 essay by the American professor, which identifies these “final girls” a distinctive cinematic theme – female characters isolated to triumph.

These figures are somewhat masculine, reserved in nature and she can survive due to intelligence,” she elaborates about such characters. “They don’t take drugs nor sexual activity. And it doesn’t matter the viewer’s gender, all empathize with the final girl.”

Herfeldt sees a connection between these characters and her sculptures – things that are just about staying put amidst stress they’re under. Is the exhibition more about societal collapse rather than simply water damage? Because like so many institutions, such components that should seal and protect us from damage are gradually failing around us.

“Completely,” responds the artist.

Earlier in her career using foam materials, Herfeldt used different unconventional substances. Recent shows have involved tongue-like shapes using a synthetic material typical for on a sleeping bag or in coats. Similarly, one finds the impression these peculiar objects might animate – a few are compressed as insects in motion, pieces hang loosely off surfaces or spill across doorways gathering grime from contact (The artist invites people to handle leaving marks on pieces). Similar to the foam artworks, the textile works also occupy – leaving – inexpensive-seeming acrylic glass boxes. The pieces are deliberately unappealing, and really that’s the point.

“These works possess a specific look which makes one highly drawn to, while also being quite repulsive,” she says amusedly. “The art aims for invisible, however, it is extremely obvious.”

Herfeldt's goal isn't work to make you feel ease or beauty. Instead, she wants you to feel unease, odd, or even humor. And if there's a moist sensation on your head as well, remember this was foreshadowed.