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Should you be thinking about bathroom renovations, you may want to steer clear of engaging this German artist for the job.

Indeed, Herfeldt is an expert using sealant applicators, crafting compelling artworks out of an unusual art material. But longer you examine the artworks, the more you realise that an element seems somewhat unnerving.

The dense tubes from the foam she crafts extend over their supports where they rest, drooping over the sides towards the floor. Those twisted silicone strands bulge before bursting open. A few artworks leave the display cases completely, becoming a magnet of debris and fibers. One could imagine the ratings might not get favorable.

“I sometimes have an impression that items seem animated in a room,” states the German artist. This is why I turned to this substance due to its this very bodily feel and appearance.”

In fact there’s something almost visceral in the artist's creations, from that protruding shape jutting out, hernia-like, from its cylindrical stand at the exhibition's heart, or the gut-like spirals from the material which split open resembling bodily failures. On one wall, Herfeldt has framed prints showing the pieces captured in multiple views: resembling wormy parasites observed under magnification, or formations on culture plates.

What captivates me is the idea within us occurring that seem to hold independent existence,” Herfeldt explains. Elements which remain unseen or command.”

Regarding things she can’t control, the poster promoting the event features an image of water damage overhead in her own studio in Kreuzberg, Berlin. Constructed made in the seventies as she explains, was quickly despised by local people since many old buildings were torn down in order to make way for it. It was already run-down as the artist – who was born in Munich although she spent her youth in northern Germany prior to moving to the capital in her youth – began using the space.

This decrepit property proved challenging to Herfeldt – placing artworks was difficult her pieces without concern risk of ruin – but it was also intriguing. Lacking architectural drawings available, it was unclear methods to address the problems that developed. Once an overhead section in Herfeldt’s studio was saturated enough it gave way completely, the only solution meant swapping the damaged part – thus repeating the process.

Elsewhere on the property, Herfeldt says the leaking was so bad so multiple shower basins got placed above the false roof in order to redirect leaks to another outlet.

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

This scenario evoked memories of the sci-fi movie, John Carpenter’s debut movie from the seventies about an AI-powered spacecraft which becomes autonomous. As the exhibition's title suggests from the show’s title – Alice, Laurie & Ripley – that’s not the only film impacting the artist's presentation. The three names refer to main characters in Friday 13th, another scary movie and Alien in that order. She mentions a 1987 essay written by Carol J Clover, that describes these “final girls” a distinctive cinematic theme – protagonists by themselves to overcome.

“She’s a bit tomboyish, reserved in nature and she can survive because she’s quite clever,” says Herfeldt of the archetypal final girl. They avoid substances nor sexual activity. And it doesn’t matter the viewer’s gender, all empathize with the final girl.”

Herfeldt sees a connection between these characters to her artworks – things that are just about staying put amidst stress they’re under. Does this mean the art focused on cultural decay rather than simply dripping roofs? Because like so many institutions, these materials that should seal and protect us from damage are actually slowly eroding within society.

“Completely,” says Herfeldt.

Prior to discovering her medium using foam materials, Herfeldt used alternative odd mediums. Recent shows included tongue-like shapes crafted from the kind of nylon fabric typical for in insulated clothing or inside a jacket. Similarly, one finds the feeling these peculiar objects seem lifelike – a few are compressed like caterpillars mid-crawl, pieces hang loosely from walls or extend through entries gathering grime from contact (The artist invites people to handle and soil the works). As with earlier creations, these nylon creations are also housed in – and escaping from – budget-style transparent cases. The pieces are deliberately unappealing, which is intentional.

“The sculptures exhibit a certain aesthetic that draws viewers compelled by, and at the same time appearing gross,” Herfeldt remarks with a smile. “It tries to be absent, however, it is extremely obvious.”

The artist does not create work to make you feel ease or beauty. Instead, her intention is to evoke discomfort, odd, or even humor. However, should you notice something wet dripping from above additionally, consider yourself the alert was given.