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When considering bathroom renovations, it might be wise not to choose engaging the sculptor to handle it.

Indeed, Herfeldt is an expert with a silicone gun, crafting compelling creations with a surprising substance. However longer you look at the artworks, the more you realise that an element is a little unnerving.

The dense tubes made of silicone Herfeldt forms extend past their supports on which they sit, hanging off the edges to the ground. The gnarled tubular forms swell till they rupture. Some creations leave the display cases fully, turning into an attractor of debris and fibers. Let's just say the feedback might not get positive.

“I sometimes have the feeling that items seem animated in a room,” states the sculptor. Hence I started using this foam material due to its such an organic feel and appearance.”

Certainly one can detect rather body horror in these sculptures, starting with that protruding shape which extends, like a medical condition, from the support at the exhibition's heart, or the gut-like spirals from the material that rupture like medical emergencies. On one wall, are mounted images showing the pieces captured in multiple views: they look like wormy parasites observed under magnification, or formations on culture plates.

What captivates me is how certain elements within us taking place that seem to hold their own life,” she says. Phenomena you can’t see or command.”

On the subject of things she can’t control, the promotional image featured in the exhibition displays a photograph of water damage overhead within her workspace located in Berlin. Constructed erected decades ago and, she says, faced immediate dislike by local people because a lot of older edifices were torn down to allow its construction. It was already in a state of disrepair as the artist – a native of that city yet raised near Hamburg prior to moving to the capital as a teenager – began using the space.

The rundown building was frustrating to Herfeldt – placing artworks was difficult the sculptures without fearing risk of ruin – yet it also proved fascinating. Without any blueprints accessible, no one knew methods to address the malfunctions that developed. When the ceiling panel at the artist's area was saturated enough it gave way completely, the sole fix involved installing the damaged part – perpetuating the issue.

In a different area, the artist explains the water intrusion was severe so multiple collection units got placed within the drop ceiling to channel the moisture elsewhere.

“I realised that the building acted as a physical form, an entirely malfunctioning system,” she says.

These conditions reminded her of Dark Star, John Carpenter’s debut 1974 film about an AI-powered spacecraft which becomes autonomous. Additionally, observers may note through the heading – a trio of references – other cinematic works influenced shaping the artist's presentation. Those labels point to the leading women in Friday 13th, the iconic thriller and Alien as listed. The artist references a 1987 essay written by Carol J Clover, that describes these surviving characters a distinctive cinematic theme – women left alone to save the day.

“She’s a bit tomboyish, reserved in nature and they endure thanks to resourcefulness,” she elaborates about such characters. They avoid substances or have sex. And it doesn’t matter the audience's identity, we can all identify with the final girl.”

The artist identifies a similarity between these characters to her artworks – elements that barely maintaining position under strain affecting them. Does this mean the art really concerning social breakdown rather than simply dripping roofs? Because like so many institutions, these materials meant to insulate and guard from deterioration are actually slowly eroding around us.

“Oh, totally,” responds the artist.

Before finding inspiration using foam materials, Herfeldt used other unusual materials. Past displays have involved forms resembling tongues made from a synthetic material typical for within outdoor gear or inside a jacket. Again there is the impression these peculiar objects might animate – certain pieces are folded as insects in motion, pieces hang loosely on vertical planes or extend through entries collecting debris from touch (She prompts viewers to touch leaving marks on pieces). As with earlier creations, the textile works are also housed in – leaving – cheap looking transparent cases. These are unattractive objects, and really that’s the point.

“They have a specific look which makes one very attracted to, while also they’re very disgusting,” the artist comments amusedly. “It attempts to seem not there, however, it is extremely obvious.”

Herfeldt's goal isn't work to make you feel ease or aesthetically soothed. Rather, she wants you to feel uncomfortable, awkward, maybe even amused. And if there's something wet dripping on your head too, don’t say this was foreshadowed.