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When considering restroom upgrades, you may want not to choose employing the sculptor for such tasks.

Certainly, she's an expert with a silicone gun, producing fascinating creations with a surprising art material. However longer you observe these pieces, the more it becomes apparent that something feels slightly unnerving.

The thick lengths from the foam she crafts extend over the shelves where they rest, hanging downwards to the ground. The knotty tubular forms expand before bursting open. A few artworks escape their acrylic glass box homes fully, becoming an attractor for dust and hair. Let's just say the ratings are unlikely to earn positive.

“I sometimes have an impression that objects possess life inside an area,” remarks the sculptor. “That’s why I started using this substance because it has such an organic feel and appearance.”

Certainly there’s something rather body horror in these sculptures, starting with the phallic bulge jutting out, similar to a rupture, from its cylindrical stand in the centre of the gallery, or the gut-like spirals of foam that burst resembling bodily failures. On one wall, Herfeldt has framed prints depicting the sculptures captured in multiple views: they look like wormy parasites picked up on a microscope, or colonies on a petri-dish.

I am fascinated by is the idea inside human forms happening that also have their own life,” Herfeldt explains. Elements which remain unseen or manage.”

Regarding unmanageable factors, the exhibition advertisement featured in the exhibition features a picture of the leaky ceiling in her own studio located in Berlin. It was erected decades ago and according to her, was instantly hated from residents as numerous older edifices were torn down in order to make way for it. The place was run-down upon her – a native of that city although she spent her youth in northern Germany then relocating to Berlin during her teens – took up residence.

This deteriorating space was frustrating for the artist – placing artworks was difficult her art works without concern they might be damaged – but it was also intriguing. Lacking architectural drawings on hand, 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 sole fix was to replace the damaged part – thus repeating the process.

Elsewhere on the property, she describes the leaking was so bad so multiple collection units got placed within the drop ceiling to divert the water to a different sink.

“I realised that the building acted as a physical form, a totally dysfunctional body,” the artist comments.

The situation brought to mind the sci-fi movie, the director's first 1974 film featuring a smart spaceship that develops independence. Additionally, observers may note from the show’s title – a trio of references – more movies have inspired shaping the artist's presentation. Those labels indicate main characters in Friday 13th, another scary movie and the extraterrestrial saga respectively. Herfeldt cites a 1987 essay written by Carol J Clover, that describes the last women standing an original movie concept – female characters isolated to overcome.

They often display toughness, rather quiet and she can survive thanks to resourcefulness,” says Herfeldt regarding this trope. No drug use occurs or have sex. And it doesn’t matter the audience's identity, we can all identify with the final girl.”

The artist identifies a similarity between these characters with her creations – objects which only staying put under strain affecting them. Does this mean the art more about social breakdown rather than simply leaky ceilings? Similar to various systems, substances like silicone intended to secure and shield against harm are gradually failing within society.

“Absolutely,” says Herfeldt.

Before finding inspiration using foam materials, Herfeldt used other unusual materials. Recent shows included organic-looking pieces made from the kind of nylon fabric typical for in insulated clothing or in coats. Similarly, one finds the sense these peculiar objects might animate – certain pieces are folded as insects in motion, pieces hang loosely off surfaces or extend through entries gathering grime from contact (She prompts audiences to interact and soil the works). Like the silicone sculptures, the textile works are similarly displayed in – and breaking out of – cheap looking transparent cases. They’re ugly looking things, and really that’s the point.

“They have a particular style that somehow you feel very attracted to, while also being quite repulsive,” the artist comments with a smile. “It tries to be not there, however, it is extremely obvious.”

The artist does not create art to provide relaxation or beauty. Rather, she wants you to feel unease, strange, perhaps entertained. However, should you notice water droplets on your head as well, remember this was foreshadowed.