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Should you be thinking about washroom remodeling, it's advisable not to choose employing the sculptor for such tasks.

Truly, she's a whiz in handling foam materials, creating intriguing creations from this unlikely medium. Yet longer you observe her creations, the clearer one notices that an element seems somewhat off.

The thick lengths from the foam she crafts reach over the shelves on which they sit, sagging over the sides towards the floor. The knotty tubular forms expand before bursting open. Certain pieces leave their acrylic glass box homes fully, becoming a magnet for dust and hair. Let's just say the ratings might not get pretty.

There are moments I feel the feeling that objects are alive inside an area,” says the sculptor. “That’s why I came to use silicone sealant due to its such an organic feel and appearance.”

Certainly there’s something rather body horror in the artist's creations, including the suggestive swelling which extends, similar to a rupture, off its base within the showspace, to the intestinal coils of foam that burst as if in crisis. Displayed nearby, are mounted prints depicting the sculptures captured in multiple views: appearing as microscopic invaders seen in scientific samples, or colonies on culture plates.

I am fascinated by is the idea inside human forms taking place that also have independent existence,” she says. “Things that are invisible or control.”

Regarding elements beyond her influence, the poster for the show displays an image of the leaky ceiling at her creative space in Kreuzberg, Berlin. Constructed erected decades ago and according to her, faced immediate dislike from residents as numerous historic structures got demolished in order to make way for it. By the time in a state of disrepair upon her – who was born in Munich yet raised in northern Germany prior to moving to the capital in her youth – began using the space.

This decrepit property proved challenging for the artist – it was risky to display her pieces anxiously they might be damaged – yet it also proved intriguing. Without any blueprints available, nobody had a clue the way to fix the malfunctions that arose. Once an overhead section in Herfeldt’s studio became so sodden it collapsed entirely, the single remedy meant swapping the damaged part – perpetuating the issue.

In a different area, she describes the water intrusion was severe that several drainage containers were installed above the false roof in order to redirect the water to a different sink.

“I realised that the structure was like a body, a completely flawed entity,” Herfeldt states.

This scenario reminded her of the sci-fi movie, the director's first 1974 film concerning a conscious ship that develops independence. Additionally, observers may note given the naming – three distinct names – more movies have inspired impacting the artist's presentation. The three names point to the female protagonists in Friday 13th, the iconic thriller and the extraterrestrial saga respectively. She mentions an academic paper written by Carol J Clover, which identifies 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 because she’s quite clever,” says Herfeldt about such characters. “They don’t take drugs or engage intimately. Regardless the viewer’s gender, all empathize with the survivor.”

She draws a similarity linking these figures with her creations – objects which only maintaining position amidst stress they face. Does this mean the art really concerning social breakdown rather than simply leaky ceilings? Because like so many institutions, substances like silicone meant to insulate and guard against harm are actually slowly eroding in our environment.

“Completely,” she confirms.

Before finding inspiration with sealant applicators, Herfeldt used alternative odd mediums. Previous exhibitions included organic-looking pieces using a synthetic material found in on a sleeping bag or apparel lining. Once more, there's the impression these peculiar objects could come alive – some are concertinaed like caterpillars mid-crawl, others lollop down off surfaces or spill across doorways attracting dirt from footprints (The artist invites audiences to interact leaving marks on pieces). Like the silicone sculptures, those fabric pieces also occupy – leaving – budget-style transparent cases. The pieces are deliberately unappealing, and really that’s the point.

“They have a specific look that somehow you feel very attracted to, while also being quite repulsive,” the artist comments with a smile. “It attempts to seem invisible, but it’s actually highly noticeable.”

Herfeldt is not making art to provide comfortable or visual calm. Instead, her intention is to evoke uncomfortable, odd, or even humor. However, should you notice a moist sensation overhead too, remember this was foreshadowed.