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Should you be thinking about washroom remodeling, you may want not to choose hiring the sculptor for such tasks.

Truly, she's a whiz using sealant applicators, creating intriguing sculptures from this unlikely medium. However longer you look at the artworks, the stronger it becomes apparent that an element is a little strange.

The dense lengths from the foam she crafts extend past the shelves where they rest, sagging off the edges towards the floor. Those twisted tubular forms expand before bursting open. Certain pieces leave their acrylic glass box homes fully, turning into an attractor for grime and particles. One could imagine the reviews are unlikely to earn pretty.

“I sometimes have an impression that things are alive inside an area,” remarks the German artist. “That’s why I started using this foam material due to its this very bodily texture and feeling.”

In fact there’s something somewhat grotesque in the artist's creations, starting with the suggestive swelling jutting out, like a medical condition, from the support at the exhibition's heart, and the winding tubes from the material which split open as if in crisis. On one wall, Herfeldt has framed images depicting the sculptures viewed from different angles: resembling squirming organisms seen in scientific samples, or formations on culture plates.

I am fascinated by that there are things inside human forms occurring which possess independent existence,” Herfeldt explains. “Things you can’t see or control.”

Regarding unmanageable factors, the exhibition advertisement promoting the event features a photograph of water damage overhead in her own studio in the German capital. Constructed made in the seventies and, she says, was instantly hated from residents because a lot of old buildings were removed in order to make way for it. It was already dilapidated upon her – a native of that city although she spent her youth near Hamburg before arriving in Berlin as a teenager – took up residence.

This decrepit property was frustrating to Herfeldt – placing artworks was difficult the sculptures without concern risk of ruin – yet it also proved compelling. With no building plans accessible, it was unclear how to repair the malfunctions which occurred. After a part of the roof within her workspace got thoroughly soaked it collapsed entirely, the single remedy involved installing the damaged part – thus repeating the process.

Elsewhere on the property, Herfeldt says dripping was extreme so multiple shower basins got placed above the false roof to divert leaks to another outlet.

I understood that this place was like a body, a totally dysfunctional body,” Herfeldt states.

This scenario reminded her of Dark Star, the initial work movie from the seventies featuring a smart spaceship which becomes autonomous. And as you might notice through the heading – a trio of references – more movies have inspired impacting Herfeldt’s show. These titles point to the leading women from a horror classic, Halloween plus the sci-fi hit in that order. The artist references a critical analysis written by Carol J Clover, outlining these “final girls” an original movie concept – female characters isolated to overcome.

“She’s a bit tomboyish, on the silent side and she can survive due to intelligence,” the artist explains of the archetypal final girl. No drug use occurs nor sexual activity. Regardless who is watching, we can all identify with this character.”

The artist identifies a parallel between these characters to her artworks – things that are just about holding in place despite the pressures they face. Is the exhibition more about cultural decay rather than simply water damage? Because like so many institutions, such components meant to insulate and guard against harm in fact are decaying in our environment.

“Absolutely,” she confirms.

Before finding inspiration in the silicone gun, the artist worked with different unconventional substances. Previous exhibitions have involved forms resembling tongues made from a synthetic material you might see in insulated clothing or inside a jacket. Once more, there's the sense such unusual creations seem lifelike – some are concertinaed as insects in motion, some droop heavily on vertical planes or spill across doorways collecting debris from touch (Herfeldt encourages viewers to touch and soil the works). Like the silicone sculptures, those fabric pieces are also housed in – leaving – cheap looking transparent cases. They’re ugly looking things, which is intentional.

“They have a specific look that draws viewers highly drawn to, while also they’re very disgusting,” the artist comments grinning. “The art aims for not there, but it’s actually highly noticeable.”

The artist does not create work to make you feel relaxation or aesthetically soothed. Instead, her intention is to evoke discomfort, odd, or even humor. However, should you notice something wet dripping on your head too, consider yourself you haven’t been warned.