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If you're planning restroom upgrades, you may want to steer clear of engaging the sculptor for the job.

Truly, she's a whiz using sealant applicators, creating compelling artworks from this unlikely substance. But the more examine these pieces, the more you realise a certain aspect is a little strange.

Those hefty lengths from the foam she produces reach over their supports on which they sit, sagging downwards to the ground. The gnarled silicone strands swell before bursting open. A few artworks leave their acrylic glass box homes entirely, evolving into an attractor for dust and hair. It's safe to say the feedback would not be favorable.

At times I get the feeling that things seem animated within a space,” states Herfeldt. “That’s why I started using this substance due to its a distinctly physical sensation and look.”

Indeed there is an element almost visceral regarding these sculptures, starting with the suggestive swelling that protrudes, similar to a rupture, from the support within the showspace, to the intestinal coils from the material that burst like medical emergencies. On one wall, the artist presents images depicting the sculptures captured in multiple views: appearing as microscopic invaders observed under magnification, or colonies on a petri-dish.

“It interests me is the idea within us happening which possess independent existence,” Herfeldt explains. Phenomena which remain unseen or control.”

On the subject of elements beyond her influence, the promotional image featured in the exhibition features a picture of water damage overhead in her own studio located in Berlin. The building had been erected decades ago as she explains, was quickly despised among the community since many older edifices were torn down for its development. By the time dilapidated when Herfeldt – who was born in Munich yet raised near Hamburg before arriving in Berlin as a teenager – took up residence.

This decrepit property proved challenging to Herfeldt – placing artworks was difficult her pieces without concern potential harm – however, it was intriguing. Lacking architectural drawings accessible, it was unclear how to repair the problems which occurred. Once an overhead section at the artist's area got thoroughly soaked it fell apart fully, the only solution meant swapping the damaged part – and so the cycle continued.

In a different area, Herfeldt says the leaking was so bad that several shower basins were installed within the drop ceiling in order to redirect the water to a different sink.

It dawned on me that the building resembled an organism, a completely flawed entity,” Herfeldt states.

This scenario evoked memories of Dark Star, the initial work 1974 film featuring a smart spaceship that develops independence. As the exhibition's title suggests from the show’s title – Alice, Laurie & Ripley – more movies have inspired impacting Herfeldt’s show. These titles refer to the female protagonists from a horror classic, Halloween plus the sci-fi hit in that order. She mentions an academic paper written by Carol J Clover, that describes these “final girls” a distinctive cinematic theme – women left alone to save the day.

These figures are somewhat masculine, rather quiet and she can survive thanks to resourcefulness,” the artist explains of the archetypal final girl. They avoid substances nor sexual activity. Regardless who is watching, all empathize with the survivor.”

She draws a parallel between these characters to her artworks – objects which only holding in place under strain they’re under. Is the exhibition focused on social breakdown than just dripping roofs? As with many structures, these materials intended to secure and shield against harm are gradually failing around us.

“Absolutely,” says Herfeldt.

Prior to discovering her medium in the silicone gun, Herfeldt used different unconventional substances. Past displays included tongue-like shapes crafted from a synthetic material typical for in insulated clothing or in coats. Similarly, one finds the sense these peculiar objects could come alive – a few are compressed like caterpillars mid-crawl, some droop heavily from walls or extend through entries attracting dirt from footprints (She prompts viewers to touch and soil the works). As with earlier creations, the textile works also occupy – and breaking out of – inexpensive-seeming acrylic glass boxes. These are unattractive objects, and really that’s the point.

“The sculptures exhibit a specific look that somehow you feel very attracted to, and at the same time they’re very disgusting,” Herfeldt remarks grinning. “It attempts to seem invisible, however, it is very present.”

Herfeldt's goal isn't art to provide ease or beauty. Instead, her intention is to evoke discomfort, odd, perhaps entertained. However, should you notice water droplets overhead as well, remember you haven’t been warned.