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If you're planning washroom remodeling, it's advisable to steer clear of engaging this German artist to handle it.

Certainly, she's a whiz with a silicone gun, producing intriguing creations out of an unusual art material. Yet as you examine the artworks, the clearer one notices a certain aspect is a little unnerving.

The thick tubes made of silicone she produces extend over display surfaces where they rest, drooping downwards towards the floor. Those twisted tubular forms expand until they split. Some creations escape their acrylic glass box homes completely, turning into a collector for dust and hair. Let's just say the feedback might not get positive.

There are moments I feel this sense that objects are alive within a space,” states the sculptor. This is why I turned to this foam material because it has a distinctly physical sensation and look.”

In fact there is an element somewhat grotesque about these sculptures, 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, are mounted prints showing the pieces viewed from different angles: they look like squirming organisms observed under magnification, or formations in a lab setting.

What captivates me that there are things in our bodies happening which possess their own life,” Herfeldt explains. Elements that are invisible or manage.”

Talking of elements beyond her influence, the poster promoting the event displays a picture showing a dripping roof in her own studio in the German capital. Constructed built in the early 1970s as she explains, was quickly despised among the community since many old buildings were removed in order to make way for it. By the time run-down when Herfeldt – originally from Munich but grew up near Hamburg before arriving in Berlin as a teenager – moved in.

This decrepit property caused issues for the artist – it was risky to display her pieces without concern potential harm – however, it was fascinating. Without any blueprints accessible, it was unclear methods to address the problems that developed. After a part of the roof at the artist's area was saturated enough it fell apart fully, the single remedy meant swapping the panel with a new one – perpetuating the issue.

In a different area, the artist explains the water intrusion was severe that several collection units were set up within the drop ceiling to divert the moisture elsewhere.

It dawned on me that the building resembled an organism, a completely flawed entity,” Herfeldt states.

The situation reminded her of Dark Star, the director's first 1974 film concerning a conscious ship that develops independence. And as you might notice from the show’s title – three distinct names – that’s not the only film shaping Herfeldt’s show. These titles point to the female protagonists in the slasher film, another scary movie and Alien as listed. The artist references a critical analysis from a scholar, that describes these surviving characters an original movie concept – protagonists by themselves to overcome.

These figures are somewhat masculine, on the silent side enabling their survival because she’s quite clever,” says Herfeldt of the archetypal final girl. They avoid substances nor sexual activity. And it doesn’t matter who is watching, all empathize with the survivor.”

Herfeldt sees a parallel linking these figures and her sculptures – things that are just about maintaining position under strain they face. So is her work really concerning cultural decay beyond merely leaky ceilings? As with many structures, such components intended to secure and shield from deterioration are gradually failing in our environment.

“Completely,” says Herfeldt.

Earlier in her career with sealant applicators, the artist worked with alternative odd mediums. Previous exhibitions included forms resembling tongues using fabric similar to found in in insulated clothing or inside a jacket. Similarly, one finds the impression such unusual creations might animate – a few are compressed resembling moving larvae, others lollop down off surfaces or extend through entries collecting debris from touch (She prompts audiences to interact and soil the works). Like the silicone sculptures, the textile works also occupy – and breaking out of – budget-style transparent cases. The pieces are deliberately unappealing, which is intentional.

“These works possess a particular style that somehow you feel very attracted to, while also they’re very disgusting,” Herfeldt remarks amusedly. “It tries to be invisible, however, it is extremely obvious.”

Herfeldt's goal isn't pieces that offer comfortable or beauty. Conversely, she aims for unease, odd, or even humor. And if there's something wet dripping overhead too, consider yourself you haven’t been warned.