But through Hermann’s hand, these seemingly generic forms are slightly skewed and abstracted—divorced from any utility so that they become a series of poetic notes suggesting our deep affinity with domestic objects. In Miles of silent, but not now. (2018), a strip of pale raspberry silicone running down a wall is punctuated with porcelain and glazed ceramic shapes. In The Solid space, as you unloose. (2018), the geometry created by three ceramic pieces is offset by a sensuous drape of silicone that hangs from the shelf’s edge.
Hermann is interested in turning the familiar into something a little “alien and strange,” she said, and is influenced by the way objects interact with different times of day, particularly when natural light dims and they become less defined to the human eye. “These are timespans,” she said, “in which clarity fades into ambiguity, and our perception of individual objects gradually becomes absorbed into the gathering shadows. It is a moment when precision and exactitude succumb to the symbolic and the imaginative.”