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

Indeed, she's a whiz in handling foam materials, crafting compelling artworks from this unlikely art material. However as you look at these pieces, the stronger you realise a certain aspect is a little unnerving.

Those hefty strands of sealant she produces reach beyond the shelves on which they sit, drooping off the edges below. Those twisted tubular forms bulge before bursting open. Certain pieces leave the display cases fully, turning into an attractor of debris and fibers. Let's just say the reviews would not be positive.

“I sometimes have the feeling that items are alive within a space,” says Herfeldt. Hence I started using this foam material because it has such an organic texture and feeling.”

In fact one can detect somewhat grotesque in these sculptures, starting with the phallic bulge that protrudes, hernia-like, from the support within the showspace, to the intestinal coils made of silicone that rupture like medical emergencies. Displayed nearby, are mounted photocopies of the works viewed from different angles: they look like wormy parasites seen in scientific samples, or growths in a lab setting.

What captivates me is the idea within us happening that seem to hold independent existence,” the artist notes. Elements you can’t see or command.”

Talking of things she can’t control, the poster featured in the exhibition includes an image of water damage overhead within her workspace in the German capital. It was erected decades ago and according to her, faced immediate dislike by local people since many historic structures were removed to allow its construction. It was already run-down upon her – originally from Munich although she spent her youth near Hamburg then relocating to Berlin in her youth – took up residence.

This decrepit property proved challenging to Herfeldt – it was risky to display her pieces without concern potential harm – yet it also proved intriguing. With no building plans accessible, no one knew how to repair the malfunctions which occurred. Once an overhead section at the artist's area got thoroughly soaked it gave way completely, the sole fix involved installing it with another – and so the cycle continued.

At another site, Herfeldt says dripping was extreme that several collection units were set up within the drop ceiling to channel the moisture elsewhere.

It dawned on me that the structure acted as a physical form, a completely flawed entity,” she says.

This scenario brought to mind Dark Star, the initial work movie from the seventies concerning a conscious ship which becomes autonomous. Additionally, observers may note through the heading – Alice, Laurie & Ripley – more movies have inspired to have influenced Herfeldt’s show. The three names indicate the female protagonists in Friday 13th, Halloween and Alien as listed. She mentions an academic paper by the American professor, outlining these surviving characters as a unique film trope – women left alone to save the day.

“She’s a bit tomboyish, rather quiet enabling their survival due to intelligence,” says Herfeldt about such characters. No drug use occurs or engage intimately. And it doesn’t matter the audience's identity, all empathize with this character.”

Herfeldt sees a connection between these characters to her artworks – elements that barely staying put amidst stress affecting them. Does this mean the art more about societal collapse beyond merely leaky ceilings? Because like so many institutions, these materials meant to insulate and guard us from damage are gradually failing around us.

“Absolutely,” responds the artist.

Before finding inspiration in the silicone gun, she experimented with different unconventional substances. Previous exhibitions featured tongue-like shapes using the kind of nylon fabric you might see within outdoor gear or apparel lining. Similarly, one finds the feeling these strange items might animate – certain pieces are folded like caterpillars mid-crawl, pieces hang loosely from walls blocking passages attracting dirt from footprints (The artist invites audiences to interact leaving marks on pieces). As with earlier creations, those fabric pieces also occupy – and escaping from – budget-style transparent cases. The pieces are deliberately unappealing, and that's the essence.

“The sculptures exhibit a certain aesthetic that draws viewers compelled by, yet simultaneously appearing gross,” the artist comments amusedly. “It attempts to seem absent, but it’s actually very present.”

Herfeldt's goal isn't work to make you feel relaxation or beauty. Conversely, her intention is to evoke discomfort, awkward, or even humor. And if there's a moist sensation from above additionally, consider yourself you haven’t been warned.