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When considering washroom remodeling, it's advisable to steer clear of hiring the sculptor to handle it.

Indeed, Herfeldt is highly skilled in handling foam materials, producing fascinating artworks out of an unusual art material. Yet the more look at the artworks, the more one notices that something seems somewhat off.

The dense tubes of sealant she produces extend over the shelves supporting them, drooping off the edges towards the floor. Those twisted silicone strands expand until they split. A few artworks escape their transparent enclosures fully, evolving into a collector for grime and particles. One could imagine the feedback would not be pretty.

At times I get the feeling that items seem animated in a room,” says the sculptor. This is why I came to use silicone sealant as it offers such an organic texture and feeling.”

In fact there’s something rather body horror in Herfeldt’s work, starting with the phallic bulge which extends, like a medical condition, from the support at the exhibition's heart, or the gut-like spirals of foam which split open like medical emergencies. Along a surface, Herfeldt has framed images of the works seen from various perspectives: resembling wormy parasites observed under magnification, or growths in a lab setting.

I am fascinated by is the idea inside human forms occurring that also have their own life,” the artist notes. Elements you can’t see or command.”

On the subject of unmanageable factors, the promotional image featured in the exhibition features a picture showing a dripping roof within her workspace in Kreuzberg, Berlin. It was built in the early 1970s and according to her, faced immediate dislike by local people since many old buildings were removed in order to make way for it. It was already dilapidated as the artist – who was born in Munich but grew up north of Hamburg before arriving in Berlin as a teenager – took up residence.

This decrepit property was frustrating for the artist – placing artworks was difficult her art works without concern risk of ruin – but it was also fascinating. Lacking architectural drawings available, nobody had a clue how to repair any of the issues that arose. When the ceiling panel at the artist's area was saturated enough it gave way completely, the only solution was to replace the damaged part – perpetuating the issue.

At another site, the artist explains dripping was extreme that several shower basins got placed above the false roof to divert the water to a different sink.

It dawned on me that the structure was like a body, a completely flawed entity,” the artist comments.

This scenario brought to mind the sci-fi movie, the initial work movie from the seventies concerning a conscious ship that takes on a life of its own. Additionally, observers may note through the heading – Alice, Laurie & Ripley – that’s not the only film impacting Herfeldt’s show. The three names point to the leading women in the slasher film, another scary movie and Alien as listed. The artist references an academic paper from a scholar, outlining these “final girls” as a unique film trope – protagonists by themselves to save the day.

“She’s a bit tomboyish, rather quiet and she can survive because she’s quite clever,” she elaborates of the archetypal final girl. No drug use occurs or engage intimately. Regardless the viewer’s gender, all empathize with the final girl.”

Herfeldt sees a connection between these characters and her sculptures – things that are just about maintaining position amidst stress they’re under. Does this mean the art focused on cultural decay rather than simply water damage? Because like so many institutions, these materials intended to secure and shield from deterioration are gradually failing in our environment.

“Absolutely,” says Herfeldt.

Earlier in her career in the silicone gun, Herfeldt used other unusual materials. Recent shows have involved forms resembling tongues using fabric similar to you might see on a sleeping bag or apparel lining. Again there is the sense such unusual creations could come alive – some are concertinaed as insects in motion, pieces hang loosely off surfaces or extend through entries attracting dirt from footprints (The artist invites viewers to touch leaving marks on pieces). Like the silicone sculptures, these nylon creations are similarly displayed in – and breaking out of – budget-style display enclosures. These are unattractive objects, and really that’s the point.

“They have a particular style that draws viewers very attracted to, while also they’re very disgusting,” Herfeldt remarks amusedly. “The art aims for invisible, but it’s actually very present.”

Herfeldt's goal isn't art to provide ease or beauty. Instead, she wants you to feel uncomfortable, odd, or even humor. However, should you notice something wet dripping overhead as well, don’t say the alert was given.