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If you're planning restroom upgrades, you may want to avoid hiring the sculptor for the job.

Indeed, Herfeldt is highly skilled with a silicone gun, producing intriguing sculptures out of an unusual art material. But the more observe the artworks, the clearer you realise a certain aspect feels slightly strange.

Those hefty strands from the foam she produces stretch over the shelves on which they sit, hanging off the edges to the ground. The knotty silicone strands expand until they split. A few artworks leave their transparent enclosures completely, turning into a collector for grime and particles. One could imagine the feedback would not be favorable.

At times I get this sense that items possess life in a room,” says the German artist. This is why I turned to this substance due to its such an organic sensation and look.”

Indeed there is an element somewhat grotesque about Herfeldt’s work, from the phallic bulge jutting out, hernia-like, from the support within the showspace, or the gut-like spirals of foam that rupture as if in crisis. Displayed nearby, are mounted images of the works seen from various perspectives: resembling microscopic invaders seen in scientific samples, or formations in a lab setting.

“It interests me is the idea in our bodies taking place that also have their own life,” Herfeldt explains. Elements that are invisible or control.”

Talking of things she can’t control, the poster promoting the event displays a photograph of the leaky ceiling at her creative space in the German capital. It was erected decades ago as she explains, was instantly hated by local people as numerous old buildings were removed to allow its construction. By the time run-down as the artist – who was born in Munich yet raised near Hamburg prior to moving to the capital in her youth – began using the space.

This decrepit property was frustrating for her work – placing artworks was difficult her pieces anxiously potential harm – but it was also compelling. Without any blueprints accessible, no one knew methods to address the malfunctions which occurred. After a part of the roof at the artist's area became so sodden it gave way completely, the single remedy involved installing the panel with a new one – thus repeating the process.

Elsewhere on the property, the artist explains the leaking was so bad that several drainage containers were set up above the false roof to channel the moisture elsewhere.

“I realised that this place was like a body, an entirely malfunctioning system,” Herfeldt states.

These conditions reminded her of the sci-fi movie, the initial work 1974 film concerning a conscious ship that develops independence. Additionally, observers may note from the show’s title – Alice, Laurie & Ripley – more movies have inspired shaping this exhibition. These titles indicate the female protagonists in the slasher film, another scary movie and Alien respectively. The artist references an academic paper by the American professor, that describes these surviving characters as a unique film trope – women left alone to triumph.

“She’s a bit tomboyish, on the silent side and they endure thanks to resourcefulness,” says Herfeldt regarding this trope. No drug use occurs or have sex. And it doesn’t matter who is watching, all empathize with the survivor.”

She draws a parallel linking these figures and her sculptures – elements that barely maintaining position amidst stress affecting them. So is her work more about cultural decay beyond merely leaky ceilings? As with many structures, such components intended to secure and shield from deterioration in fact are decaying within society.

“Completely,” she confirms.

Prior to discovering her medium using foam materials, the artist worked with different unconventional substances. Past displays have involved tongue-like shapes crafted from fabric similar to typical for within outdoor gear or in coats. Once more, there's the feeling these peculiar objects seem lifelike – a few are compressed as insects in motion, some droop heavily off surfaces or extend through entries gathering grime from contact (The artist invites people to handle leaving marks on pieces). Similar to the foam artworks, the textile works also occupy – and breaking out of – cheap looking acrylic glass boxes. They’re ugly looking things, and really that’s the point.

“The sculptures exhibit a certain aesthetic that draws viewers very attracted to, while also they’re very disgusting,” she says grinning. “It attempts to seem not there, but it’s actually highly noticeable.”

Herfeldt's goal isn't pieces that offer ease or visual calm. Conversely, she aims for discomfort, strange, or even humor. However, should you notice something wet dripping from above additionally, remember this was foreshadowed.