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When considering washroom remodeling, it might be wise to steer clear of hiring the sculptor for such tasks.

Truly, Herfeldt is an expert with a silicone gun, crafting fascinating artworks out of an unusual medium. However the more examine these pieces, the clearer you realise that something is a little strange.

The thick tubes made of silicone Herfeldt forms extend past their supports on which they sit, hanging off the edges below. Those twisted foam pipes swell till they rupture. Some creations escape the display cases fully, becoming an attractor for dust and hair. One could imagine the feedback would not be pretty.

At times I get the feeling that items are alive within a space,” says the German artist. Hence I started using this foam material because it has a distinctly physical sensation and look.”

Certainly one can detect rather body horror regarding Herfeldt’s work, including that protruding shape jutting out, like a medical condition, from the support at the exhibition's heart, or the gut-like spirals from the material that burst like medical emergencies. On one wall, are mounted images of the works captured in multiple views: they look like microscopic invaders picked up on a microscope, or formations on a petri-dish.

What captivates me is the idea in our bodies happening which possess their own life,” she says. “Things which remain unseen or control.”

Talking of unmanageable factors, the poster for the show includes a picture of the leaky ceiling at her creative space located in Berlin. Constructed erected decades ago and according to her, faced immediate dislike by local people since many old buildings were torn down for its development. By the time dilapidated when Herfeldt – a native of that city but grew up near Hamburg prior to moving to the capital in her youth – took up residence.

This deteriorating space caused issues to Herfeldt – it was risky to display the sculptures anxiously they might be damaged – yet it also proved intriguing. With no building plans on hand, nobody had a clue the way to fix the malfunctions which occurred. Once an overhead section in Herfeldt’s studio was saturated enough it gave way completely, the only solution involved installing the damaged part – perpetuating the issue.

At another site, she describes the water intrusion was severe that a series of collection units were set up above the false roof to channel the moisture elsewhere.

“I realised that the structure resembled an organism, an entirely malfunctioning system,” Herfeldt states.

The situation evoked memories of Dark Star, the director's first cinematic piece about an AI-powered spacecraft which becomes autonomous. As the exhibition's title suggests from the show’s title – Alice, Laurie & Ripley – more movies have inspired to have influenced Herfeldt’s show. These titles refer to the leading women in Friday 13th, the iconic thriller and Alien respectively. She mentions a critical analysis written by Carol J Clover, that describes these “final girls” a distinctive cinematic theme – women left alone to overcome.

They often display toughness, reserved in nature enabling their survival because she’s quite clever,” the artist explains of the archetypal final girl. No drug use occurs nor sexual activity. Regardless who is watching, we can all identify with the final girl.”

Herfeldt sees a similarity linking these figures and her sculptures – elements that barely maintaining position despite the pressures they’re under. Does this mean the art really concerning cultural decay rather than simply dripping roofs? Because like so many institutions, such components meant to insulate and guard from deterioration are actually slowly eroding in our environment.

“Completely,” says Herfeldt.

Earlier in her career using foam materials, she experimented with other unusual materials. Recent shows featured organic-looking pieces crafted from a synthetic material typical for within outdoor gear or inside a jacket. Again there is the impression these strange items might animate – a few are compressed resembling moving larvae, pieces hang loosely on vertical planes or spill across doorways attracting dirt from footprints (Herfeldt encourages audiences to interact leaving marks on pieces). Like the silicone sculptures, these nylon creations also occupy – and escaping from – inexpensive-seeming transparent cases. They’re ugly looking things, which is intentional.

“They have a certain aesthetic that somehow you feel very attracted to, and at the same time appearing gross,” Herfeldt remarks amusedly. “It tries to be absent, yet in reality highly noticeable.”

Herfeldt is not making art to provide ease or visual calm. Instead, she wants you to feel uncomfortable, strange, perhaps entertained. And if there's water droplets from above as well, don’t say this was foreshadowed.