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Should you be thinking about bathroom renovations, it might be wise to steer clear of engaging this German artist for such tasks.

Truly, she's a whiz with a silicone gun, crafting fascinating creations with a surprising art material. But as you observe her creations, the more it becomes apparent a certain aspect feels slightly off.

Those hefty tubes from the foam she crafts stretch beyond display surfaces where they rest, hanging over the sides towards the floor. The knotty foam pipes bulge before bursting open. Certain pieces leave their transparent enclosures fully, turning into a collector for dust and hair. One could imagine the ratings are unlikely to earn positive.

There are moments I feel the feeling that objects possess life inside an area,” remarks the sculptor. Hence I came to use this substance because it has a distinctly physical texture and feeling.”

In fact there is an element somewhat grotesque in the artist's creations, including that protruding shape which extends, like a medical condition, from the support at the exhibition's heart, or the gut-like spirals of foam that burst resembling bodily failures. Along a surface, the artist presents images of the works captured in multiple views: resembling microscopic invaders picked up on a microscope, or growths on culture plates.

I am fascinated by is the idea in our bodies occurring that also have independent existence,” she says. Phenomena which remain unseen or control.”

On the subject of unmanageable factors, the promotional image for the show features a photograph of water damage overhead in her own studio located in Berlin. It was made in the seventies and, she says, was instantly hated among the community since many older edifices got demolished in order to make way for it. The place was in a state of disrepair when Herfeldt – who was born in Munich yet raised near Hamburg then relocating to Berlin as a teenager – moved in.

This decrepit property was frustrating for her work – placing artworks was difficult the sculptures without concern risk of ruin – however, it was intriguing. With no building plans on hand, it was unclear how to repair the malfunctions that developed. When the ceiling panel at the artist's area got thoroughly soaked it gave way completely, the only solution meant swapping the damaged part – thus repeating the process.

At another site, Herfeldt says the water intrusion was severe that a series of drainage containers were set up in the suspended ceiling in order to redirect the moisture elsewhere.

I understood that the structure acted as a physical form, an entirely malfunctioning system,” she says.

This scenario reminded her of the sci-fi movie, the initial work 1974 film featuring a smart spaceship that takes on a life of its own. Additionally, observers may note given the naming – three distinct names – more movies have inspired impacting Herfeldt’s show. The three names indicate the female protagonists in Friday 13th, the iconic thriller and Alien as listed. She mentions a 1987 essay written by Carol J Clover, that describes the last women standing an original movie concept – protagonists by themselves to save the day.

“She’s a bit tomboyish, rather quiet and they endure thanks to resourcefulness,” she elaborates regarding this trope. No drug use occurs or engage intimately. It is irrelevant who is watching, we can all identify with this character.”

Herfeldt sees a similarity linking these figures and her sculptures – elements that barely maintaining position under strain they face. Is the exhibition more about cultural decay rather than simply leaky ceilings? As with many structures, substances like silicone intended to secure and shield against harm in fact are decaying in our environment.

“Completely,” she confirms.

Earlier in her career using foam materials, she experimented with different unconventional substances. Recent shows have involved organic-looking pieces made from a synthetic material you might see within outdoor gear or inside a jacket. Once more, there's the impression these strange items seem lifelike – a few are compressed like caterpillars mid-crawl, some droop heavily on vertical planes or extend through entries attracting dirt from footprints (Herfeldt encourages audiences to interact leaving marks on pieces). As with earlier creations, these nylon creations are similarly displayed in – leaving – inexpensive-seeming acrylic glass boxes. The pieces are deliberately unappealing, and really that’s the point.

“The sculptures exhibit a certain aesthetic which makes one highly drawn to, and at the same time they’re very disgusting,” she says amusedly. “The art aims for invisible, yet in reality very present.”

The artist does not create art to provide relaxation or beauty. Instead, she aims for uncomfortable, odd, perhaps entertained. But if you start to feel water droplets from above additionally, remember you haven’t been warned.