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If you're planning restroom upgrades, it's advisable to steer clear of engaging the sculptor for the job.

Certainly, she's a whiz in handling foam materials, crafting intriguing creations with a surprising medium. But as you observe these pieces, the clearer you realise that an element feels slightly off.

The dense tubes of sealant she crafts reach past their supports on which they sit, drooping off the edges to the ground. The knotty foam pipes bulge till they rupture. A few artworks escape their acrylic glass box homes completely, turning into a magnet for grime and particles. It's safe to say the feedback are unlikely to earn positive.

There are moments I feel an impression that things possess life within a space,” says the German artist. Hence I started using silicone sealant due to its this very bodily texture and feeling.”

Certainly there is an element somewhat grotesque regarding Herfeldt’s work, including the suggestive swelling jutting out, hernia-like, from the support in the centre of the gallery, or the gut-like spirals of foam that burst as if in crisis. Along a surface, the artist presents prints depicting the sculptures seen from various perspectives: resembling wormy parasites picked up on a microscope, or growths on a petri-dish.

I am fascinated by is the idea within us occurring that seem to hold their own life,” she says. “Things that are invisible or command.”

Talking of elements beyond her influence, the exhibition advertisement for the show features a photograph of water damage overhead within her workspace located in Berlin. It was built in the early 1970s and, she says, faced immediate dislike among the community because a lot of older edifices were removed for its development. The place was in a state of disrepair when Herfeldt – who was born in Munich but grew up near Hamburg prior to moving to the capital in her youth – began using the space.

The rundown building caused issues for the artist – placing artworks was difficult her pieces anxiously potential harm – but it was also fascinating. Without any blueprints on hand, no one knew methods to address any of the issues that developed. After a part of the roof at the artist's area was saturated enough it collapsed entirely, the sole fix involved installing the damaged part – thus repeating the process.

In a different area, she describes the water intrusion was severe that several drainage containers got placed within the drop ceiling in order to redirect the water to a different sink.

I understood that the structure was like a body, a totally dysfunctional body,” the artist comments.

This scenario reminded her of a classic film, John Carpenter’s debut 1974 film about an AI-powered spacecraft that takes on a life of its own. And as you might notice given the naming – a trio of references – that’s not the only film shaping Herfeldt’s show. These titles indicate the female protagonists in Friday 13th, Halloween and Alien in that order. She mentions an academic paper by the American professor, that describes the last women standing an original movie concept – female characters isolated to save the day.

“She’s a bit tomboyish, reserved in nature and they endure due to intelligence,” says Herfeldt regarding this trope. “They don’t take drugs or have sex. It is irrelevant who is watching, everyone can relate to the survivor.”

The artist identifies a parallel between these characters to her artworks – elements that barely maintaining position under strain affecting them. So is her work focused on social breakdown than just dripping roofs? As with many structures, these materials meant to insulate and guard us from damage are gradually failing around us.

“Oh, totally,” she confirms.

Before finding inspiration with sealant applicators, Herfeldt used different unconventional substances. Recent shows included organic-looking pieces using a synthetic material typical for within outdoor gear or inside a jacket. Once more, there's the impression these strange items might animate – some are concertinaed as insects in motion, pieces hang loosely off surfaces blocking passages collecting debris from touch (The artist invites people to handle leaving marks on pieces). Like the silicone sculptures, those fabric pieces are similarly displayed in – and breaking out of – cheap looking acrylic glass boxes. The pieces are deliberately unappealing, which is intentional.

“These works possess a certain aesthetic which makes one very attracted to, while also being quite repulsive,” Herfeldt remarks amusedly. “It tries to be absent, however, it is very present.”

Herfeldt's goal isn't pieces that offer ease or aesthetically soothed. Conversely, her intention is to evoke uncomfortable, strange, maybe even amused. However, should you notice a moist sensation overhead as well, don’t say this was foreshadowed.