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Should you be thinking about bathroom renovations, you may want to steer clear of employing the sculptor for the job.

Certainly, she's an expert in handling foam materials, creating fascinating creations from this unlikely substance. Yet longer you examine the artworks, the more it becomes apparent that something is a little unnerving.

The dense lengths of sealant she crafts stretch over the shelves supporting them, drooping over the sides towards the floor. The knotty foam pipes swell before bursting open. A few artworks leave the display cases fully, becoming a collector of debris and fibers. Let's just say the reviews might not get pretty.

At times I get this sense that things are alive within a space,” states the German artist. Hence I started using this substance due to its a distinctly physical feel and appearance.”

Certainly one can detect rather body horror in Herfeldt’s work, from that protruding shape jutting out, like a medical condition, off its base in the centre of the gallery, to the intestinal coils of foam that rupture resembling bodily failures. On one wall, the artist presents images depicting the sculptures seen from various perspectives: appearing as squirming organisms seen in scientific samples, or formations on a petri-dish.

“It interests me is how certain elements in our bodies happening that seem to hold a life of their own,” she says. “Things that are invisible or manage.”

Regarding elements beyond her influence, the promotional image featured in the exhibition includes an image showing a dripping roof in her own studio in Kreuzberg, Berlin. It was made in the seventies and according to her, was quickly despised among the community as numerous old buildings were removed to allow its construction. The place was dilapidated when Herfeldt – originally from Munich although she spent her youth north of Hamburg prior to moving to the capital during her teens – began using the space.

The rundown building was frustrating for the artist – it was risky to display her pieces without concern they might be damaged – but it was also compelling. Without any blueprints available, no one knew methods to address the malfunctions which occurred. Once an overhead section in Herfeldt’s studio got thoroughly soaked it collapsed entirely, the only solution meant swapping the panel with a new one – perpetuating the issue.

Elsewhere on the property, Herfeldt says the water intrusion was severe that several collection units were set up within the drop ceiling to divert leaks to another outlet.

It dawned on me that this place was like a body, an entirely malfunctioning system,” she says.

This scenario evoked memories of the sci-fi movie, the initial work movie from the seventies about an AI-powered spacecraft that develops independence. Additionally, observers may note from the show’s title – three distinct names – that’s not the only film impacting this exhibition. These titles point to main characters in Friday 13th, the iconic thriller and the extraterrestrial saga respectively. The artist references an academic paper by the American professor, which identifies the last women standing an original movie concept – female characters isolated to triumph.

These figures are somewhat masculine, reserved in nature enabling their survival because she’s quite clever,” the artist explains regarding this trope. No drug use occurs or engage intimately. Regardless who is watching, we can all identify with the survivor.”

The artist identifies a connection between these characters with her creations – things that are just about staying put amidst stress affecting them. Does this mean the art more about social breakdown rather than simply leaky ceilings? As with many structures, substances like silicone intended to secure and shield against harm in fact are decaying around us.

“Absolutely,” she confirms.

Before finding inspiration with sealant applicators, Herfeldt used different unconventional substances. Past displays featured forms resembling tongues crafted from fabric similar to you might see in insulated clothing or inside a jacket. Similarly, one finds the feeling these strange items could come alive – a few are compressed resembling moving larvae, pieces hang loosely from walls blocking passages collecting debris from touch (Herfeldt encourages people to handle and dirty her art). Similar to the foam artworks, those fabric pieces are also housed in – and breaking out of – budget-style transparent cases. The pieces are deliberately unappealing, and that's the essence.

“The sculptures exhibit a particular style that draws viewers very attracted to, while also they’re very disgusting,” she says amusedly. “It tries to be invisible, but it’s actually extremely obvious.”

Herfeldt's goal isn't pieces that offer relaxation or aesthetically soothed. Instead, she wants you to feel unease, strange, perhaps entertained. And if there's something wet dripping from above too, don’t say this was foreshadowed.