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Should you be thinking about washroom remodeling, it might be wise not to choose employing this German artist to handle it.

Certainly, Herfeldt is an expert using sealant applicators, crafting compelling sculptures from this unlikely substance. Yet as you look at her creations, the stronger one notices that an element is a little off.

The thick strands from the foam she produces extend beyond the shelves where they rest, sagging over the sides to the ground. The gnarled tubular forms bulge before bursting open. A few artworks break free from their acrylic glass box homes completely, turning into a magnet for dust and hair. One could imagine the reviews would not be positive.

“I sometimes have an impression that objects possess life inside an area,” states the German artist. Hence I turned to this substance as it offers such an organic feel and appearance.”

Certainly there is an element almost visceral in Herfeldt’s work, from the suggestive swelling jutting out, like a medical condition, from its cylindrical stand at the exhibition's heart, to the intestinal coils of foam which split open like medical emergencies. Displayed nearby, the artist presents photocopies depicting the sculptures viewed from different angles: appearing as microscopic invaders seen in scientific samples, or formations on a petri-dish.

What captivates me that there are things in our bodies taking place that also have independent existence,” the artist notes. “Things which remain unseen or command.”

Regarding things she can’t control, the promotional image for the show displays a photograph of water damage overhead at her creative space in Kreuzberg, Berlin. It was made in the seventies and, she says, faced immediate dislike by local people as numerous older edifices were removed to allow its construction. It was already in a state of disrepair upon her – originally from Munich yet raised near Hamburg before arriving in Berlin during her teens – moved in.

The rundown building proved challenging for her work – she couldn’t hang the sculptures without concern they might be damaged – however, it was compelling. Without any blueprints available, nobody had a clue the way to fix the malfunctions that developed. After a part of the roof at the artist's area was saturated enough it collapsed entirely, the sole fix meant swapping the damaged part – perpetuating the issue.

In a different area, she describes the water intrusion was severe that several shower basins were set up in the suspended ceiling to channel the moisture elsewhere.

It dawned on me that the structure resembled an organism, an entirely malfunctioning system,” the artist comments.

These conditions reminded her of the sci-fi movie, the initial work cinematic piece concerning a conscious ship that takes on a life of its own. And as you might notice through the heading – a trio of references – that’s not the only film impacting the artist's presentation. These titles indicate the leading women in Friday 13th, Halloween plus the sci-fi hit as listed. Herfeldt cites an academic paper from a scholar, outlining these “final girls” a distinctive cinematic theme – female characters isolated to overcome.

They often display toughness, reserved in nature and she can survive thanks to resourcefulness,” says Herfeldt about such characters. “They don’t take drugs nor sexual activity. It is irrelevant who is watching, everyone can relate to the survivor.”

She draws a similarity from these protagonists and her sculptures – objects which only staying put amidst stress affecting them. Does this mean the art really concerning social breakdown beyond merely water damage? As with many structures, substances like silicone that should seal and protect against harm are actually slowly eroding in our environment.

“Completely,” responds the artist.

Before finding inspiration in the silicone gun, the artist worked with alternative odd mediums. Recent shows included forms resembling tongues made from fabric similar to found in on a sleeping bag or apparel lining. Similarly, one finds the feeling such unusual creations might animate – some are concertinaed as insects in motion, pieces hang loosely off surfaces or extend through entries attracting dirt from footprints (She prompts viewers to touch and soil the works). Similar to the foam artworks, the textile works are also housed in – and escaping from – cheap looking transparent cases. These are unattractive objects, which is intentional.

“The sculptures exhibit a certain aesthetic that draws viewers compelled by, yet simultaneously they’re very disgusting,” the artist comments with a smile. “The art aims for not there, however, it is extremely obvious.”

Herfeldt's goal isn't work to make you feel comfortable or aesthetically soothed. Rather, her intention is to evoke discomfort, odd, perhaps entertained. But if you start to feel water droplets overhead additionally, remember the alert was given.