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If you're planning washroom remodeling, you may want to steer clear of hiring the sculptor for the job.

Indeed, she's an expert in handling foam materials, creating fascinating sculptures with a surprising substance. However longer you examine her creations, the stronger it becomes apparent a certain aspect is a little unnerving.

The thick tubes made of silicone Herfeldt forms stretch over the shelves on which they sit, sagging downwards towards the floor. Those twisted tubular forms swell till they rupture. A few artworks leave their transparent enclosures completely, turning into a collector of debris and fibers. One could imagine the feedback would not be favorable.

There are moments I feel this sense that things possess life within a space,” says the German artist. “That’s why I came to use silicone sealant because it has this very bodily sensation and look.”

Indeed there’s something somewhat grotesque about these sculptures, from that protruding shape which extends, similar to a rupture, from its cylindrical stand in the centre of the gallery, or the gut-like spirals made of silicone that burst like medical emergencies. On one wall, the artist presents photocopies of the works viewed from different angles: they look like squirming organisms seen in scientific samples, or growths on culture plates.

What captivates me that there are things in our bodies taking place which possess their own life,” Herfeldt explains. Elements you can’t see or command.”

On the subject of elements beyond her influence, the exhibition advertisement featured in the exhibition displays a photograph of the leaky ceiling within her workspace in the German capital. Constructed made in the seventies and, she says, was quickly despised by local people as numerous historic structures were torn down to allow its construction. The place was run-down when Herfeldt – who was born in Munich although she spent her youth in northern Germany before arriving in Berlin in her youth – moved in.

This decrepit property was frustrating for the artist – it was risky to display her pieces without concern they might be damaged – however, it was compelling. Lacking architectural drawings on hand, it was unclear how to repair any of the issues which occurred. Once an overhead section at the artist's area was saturated enough it collapsed entirely, the only solution meant swapping the panel with a new one – perpetuating the issue.

At another site, the artist explains the water intrusion was severe that several collection units were set up within the drop ceiling in order to redirect the water to a different sink.

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

The situation reminded her of Dark Star, John Carpenter’s debut cinematic piece concerning a conscious ship that takes on a life of its own. Additionally, observers may note through the heading – a trio of references – that’s not the only film shaping the artist's presentation. These titles indicate main characters in the slasher film, Halloween and the extraterrestrial saga in that order. She mentions a 1987 essay by the American professor, which identifies the last women standing an original movie concept – women left alone to overcome.

These figures are somewhat masculine, reserved in nature and they endure due to intelligence,” the artist explains of the archetypal final girl. No drug use occurs or engage intimately. It is irrelevant the audience's identity, we can all identify with the survivor.”

She draws a similarity from these protagonists and her sculptures – things that are just about holding in place under strain they face. So is her work focused on societal collapse rather than simply dripping roofs? Because like so many institutions, these materials intended to secure and shield from deterioration in fact are decaying in our environment.

“Absolutely,” says Herfeldt.

Prior to discovering her medium in the silicone gun, Herfeldt used other unusual materials. Past displays included organic-looking pieces crafted from the kind of nylon fabric you might see on a sleeping bag or apparel lining. Similarly, one finds the impression these peculiar objects might animate – a few are compressed like caterpillars mid-crawl, others lollop down from walls blocking passages collecting debris from touch (The artist invites viewers to touch and soil the works). Similar to the foam artworks, those fabric pieces are similarly displayed in – and breaking out of – inexpensive-seeming transparent cases. The pieces are deliberately unappealing, and that's the essence.

“The sculptures exhibit a specific look that draws viewers compelled by, while also appearing gross,” the artist comments amusedly. “It tries to be invisible, but it’s actually extremely obvious.”

The artist does not create work to make you feel relaxation or aesthetically soothed. Conversely, she aims for uncomfortable, awkward, maybe even amused. But if you start to feel a moist sensation on your head too, don’t say the alert was given.