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When considering washroom remodeling, you may want to avoid hiring the sculptor to handle it.

Certainly, Herfeldt is an expert using sealant applicators, producing intriguing artworks with a surprising art material. Yet the more examine these pieces, the clearer one notices a certain aspect seems somewhat off.

The thick lengths from the foam Herfeldt forms stretch over the shelves supporting them, sagging over the sides towards the floor. Those twisted tubular forms expand before bursting open. Certain pieces leave their acrylic glass box homes entirely, turning into a collector of debris and fibers. Let's just say the ratings might not get favorable.

“I sometimes have an impression that items seem animated within a space,” says the sculptor. “That’s why I started using this substance as it offers a distinctly physical sensation and look.”

Indeed one can detect somewhat grotesque regarding these sculptures, from that protruding shape which extends, hernia-like, from the support in the centre of the gallery, to the intestinal coils of foam that rupture resembling bodily failures. Along a surface, Herfeldt has framed prints depicting the sculptures seen from various perspectives: resembling wormy parasites seen in scientific samples, or colonies in a lab setting.

“It interests me that there are things inside human forms taking place that seem to hold their own life,” she says. Phenomena that are invisible or manage.”

Talking of unmanageable factors, the promotional image promoting the event features an image of the leaky ceiling within her workspace in Kreuzberg, Berlin. It was made in the seventies and, she says, was quickly despised from residents because a lot of older edifices were torn down in order to make way for it. By the time dilapidated upon her – 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 proved challenging for her work – placing artworks was difficult her art works without fearing they might be damaged – however, it was compelling. Without any blueprints on hand, nobody had a clue methods to address the problems which occurred. Once an overhead section within her workspace was saturated enough it gave way completely, the sole fix was to replace the panel with a new one – thus repeating the process.

Elsewhere on the property, Herfeldt says the water intrusion was severe that several collection units were installed above the false roof to divert leaks to another outlet.

I understood that the structure acted as a physical form, a completely flawed entity,” Herfeldt states.

This scenario brought to mind the sci-fi movie, John Carpenter’s debut 1974 film about an AI-powered spacecraft that develops independence. And as you might notice given the naming – Alice, Laurie & Ripley – more movies have inspired to have influenced this exhibition. These titles point to main characters from a horror classic, Halloween and the extraterrestrial saga in that order. The artist references an academic paper by the American professor, that describes the last women standing a distinctive cinematic theme – women left alone to overcome.

They often display toughness, rather quiet and they endure due to intelligence,” says Herfeldt about such characters. They avoid substances or engage intimately. And it doesn’t matter the audience's identity, we can all identify with the final girl.”

Herfeldt sees a parallel from these protagonists with her creations – things that are just about holding in place despite the pressures they face. So is her work focused on social breakdown than just leaky ceilings? Because like so many institutions, these materials intended to secure and shield us from damage are gradually failing in our environment.

“Absolutely,” she confirms.

Prior to discovering her medium in the silicone gun, Herfeldt used alternative odd mediums. Previous exhibitions included forms resembling tongues made from a synthetic material found in in insulated clothing or inside a jacket. Again there is the sense such unusual creations could come alive – certain pieces are folded as insects in motion, others lollop down from walls or spill across doorways gathering grime from contact (Herfeldt encourages viewers to touch and dirty her art). As with earlier creations, these nylon creations are also housed in – leaving – inexpensive-seeming acrylic glass boxes. The pieces are deliberately unappealing, which is intentional.

“They have a certain aesthetic which makes one compelled by, while also appearing gross,” the artist comments grinning. “The art aims for absent, however, it is highly noticeable.”

Herfeldt is not making art to provide comfortable or visual calm. Instead, her intention is to evoke discomfort, awkward, perhaps entertained. But if you start to feel water droplets overhead additionally, don’t say this was foreshadowed.