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When considering restroom upgrades, it might be wise not to choose engaging this German artist for the job.

Certainly, she's highly skilled in handling foam materials, crafting intriguing artworks with a surprising substance. However longer you examine her creations, the more it becomes apparent that an element feels slightly off.

The dense strands of sealant she produces reach past display surfaces supporting them, hanging downwards to the ground. The gnarled silicone strands expand until they split. Some creations leave the display cases completely, evolving into a collector for grime and particles. One could imagine the ratings are unlikely to earn positive.

There are moments I feel this sense that objects are alive in a room,” states Herfeldt. “That’s why I started using this foam material as it offers this very bodily feel and appearance.”

In fact there’s something rather body horror in Herfeldt’s work, starting with the phallic bulge which extends, like a medical condition, from the support at the exhibition's heart, or the gut-like spirals of foam which split open resembling bodily failures. On one wall, are mounted images showing the pieces captured in multiple views: resembling squirming organisms seen in scientific samples, or colonies in a lab setting.

I am fascinated by is the idea in our bodies occurring that seem to hold a life of their own,” Herfeldt explains. Phenomena which remain unseen or control.”

Regarding elements beyond her influence, the exhibition advertisement featured in the exhibition displays a picture showing a dripping roof at her creative space in Kreuzberg, Berlin. Constructed built in the early 1970s and, she says, was instantly hated by local people because a lot of older edifices were removed in order to make way for it. It was already run-down as the artist – a native of that city yet raised in northern Germany before arriving in Berlin in her youth – began using the space.

The rundown building was frustrating to Herfeldt – placing artworks was difficult the sculptures without concern they might be damaged – yet it also proved fascinating. Lacking architectural drawings accessible, nobody had a clue how to repair the problems that developed. Once an overhead section within her workspace became so sodden it gave way completely, the sole fix meant swapping the panel with a new one – and so the cycle continued.

Elsewhere on the property, Herfeldt says dripping was extreme that several shower basins got placed within the drop ceiling to divert leaks to another outlet.

It dawned on me that this place resembled an organism, an entirely malfunctioning system,” Herfeldt states.

The situation reminded her of a classic film, John Carpenter’s debut cinematic piece featuring a smart spaceship that takes on a life of its own. Additionally, observers may note given the naming – three distinct names – that’s not the only film impacting the artist's presentation. These titles refer to the female protagonists in Friday 13th, the iconic thriller and Alien respectively. The artist references a critical analysis by the American professor, which identifies these surviving characters an original movie concept – protagonists by themselves to overcome.

“She’s a bit tomboyish, rather quiet and she can survive due to intelligence,” says Herfeldt of the archetypal final girl. No drug use occurs nor sexual activity. And it doesn’t matter the audience's identity, we can all identify with the survivor.”

The artist identifies a similarity between these characters to her artworks – objects which only staying put amidst stress they’re under. Does this mean the art really concerning social breakdown beyond merely water damage? Similar to various systems, these materials intended to secure and shield against harm are actually slowly eroding in our environment.

“Oh, totally,” responds the artist.

Earlier in her career in the silicone gun, the artist worked with other unusual materials. Previous exhibitions included organic-looking pieces crafted from fabric similar to you might see in insulated clothing or inside a jacket. Once more, there's the impression these strange items seem lifelike – certain pieces are folded like caterpillars mid-crawl, pieces hang loosely on vertical planes blocking passages attracting dirt from footprints (Herfeldt encourages viewers to touch leaving marks on pieces). As with earlier creations, those fabric pieces are similarly displayed in – and escaping from – cheap looking acrylic glass boxes. These are unattractive objects, and really that’s the point.

“These works possess a particular style that draws viewers very attracted to, while also being quite repulsive,” the artist comments grinning. “It tries to be invisible, yet in reality highly noticeable.”

The artist does not create pieces that offer ease or visual calm. Conversely, she wants you to feel unease, odd, perhaps entertained. However, should you notice water droplets from above too, consider yourself you haven’t been warned.