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Should you be thinking about restroom upgrades, it might be wise to steer clear of hiring this German artist for such tasks.

Indeed, she's highly skilled using sealant applicators, creating fascinating artworks out of an unusual medium. Yet as you observe these pieces, the more one notices that something seems somewhat unnerving.

The dense lengths of sealant she produces stretch over their supports where they rest, drooping off the edges below. The gnarled foam pipes bulge before bursting open. Certain pieces leave the display cases entirely, becoming a magnet for dust and hair. Let's just say the ratings would not be positive.

At times I get the feeling that objects are alive in a room,” says the sculptor. Hence I started using this substance because it has a distinctly physical sensation and look.”

In fact one can detect almost visceral about the artist's creations, from the suggestive swelling that protrudes, hernia-like, from its cylindrical stand at the exhibition's heart, to the intestinal coils made of silicone that burst like medical emergencies. Along a surface, are mounted photocopies showing the pieces seen from various perspectives: resembling microscopic invaders observed under magnification, or formations on a petri-dish.

What captivates me is the idea in our bodies happening that seem to hold independent existence,” the artist notes. Phenomena that are invisible or manage.”

Talking of elements beyond her influence, the poster for the show features an image showing a dripping roof in her own studio in the German capital. Constructed made in the seventies as she explains, faced immediate dislike among the community because a lot of older edifices were removed to allow its construction. The place was run-down when Herfeldt – who was born in Munich yet raised in northern Germany before arriving in Berlin as a teenager – began using the space.

The rundown building was frustrating to Herfeldt – placing artworks was difficult her art works without concern potential harm – however, it was intriguing. Lacking architectural drawings accessible, nobody had a clue how to repair the problems that developed. Once an overhead section in Herfeldt’s studio got thoroughly soaked it fell apart fully, the single remedy involved installing the panel with a new one – perpetuating the issue.

Elsewhere on the property, she describes the leaking was so bad so multiple shower basins got placed above the false roof to channel the moisture elsewhere.

I understood that the structure acted as a physical form, a totally dysfunctional body,” Herfeldt states.

These conditions evoked memories of the sci-fi movie, John Carpenter’s debut 1974 film concerning a conscious ship which becomes autonomous. As the exhibition's title suggests given the naming – three distinct names – more movies have inspired shaping the artist's presentation. The three names point to main characters from a horror classic, another scary movie plus the sci-fi hit as listed. Herfeldt cites a 1987 essay by the American professor, which identifies the last women standing an original movie concept – protagonists by themselves to save the day.

They often display toughness, reserved in nature enabling their survival due to intelligence,” she elaborates of the archetypal final girl. “They don’t take drugs nor sexual activity. It is irrelevant who is watching, everyone can relate to this character.”

She draws a connection between these characters with her creations – objects which only maintaining position despite the pressures affecting them. Does this mean the art more about social breakdown beyond merely water damage? As with many structures, substances like silicone intended to secure and shield against harm in fact are decaying around us.

“Absolutely,” she confirms.

Prior to discovering her medium using foam materials, Herfeldt used different unconventional substances. Previous exhibitions featured forms resembling tongues using fabric similar to you might see in insulated clothing or apparel lining. Once more, there's the feeling such unusual creations could come alive – a few are compressed like caterpillars mid-crawl, some droop heavily from walls blocking passages gathering grime from contact (She prompts audiences to interact and soil the works). Similar to the foam artworks, those fabric pieces are also housed in – and breaking out of – budget-style transparent cases. These are unattractive objects, which is intentional.

“They have a certain aesthetic which makes one highly drawn to, while also appearing gross,” she says with a smile. “The art aims for invisible, but it’s actually highly noticeable.”

The artist does not create art to provide relaxation or aesthetically soothed. Conversely, she wants you to feel discomfort, awkward, or even humor. But if you start to feel water droplets overhead additionally, consider yourself the alert was given.