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When considering bathroom renovations, it might be wise not to choose employing this German artist for the job.

Certainly, Herfeldt is a whiz using sealant applicators, creating fascinating sculptures out of an unusual medium. But longer you examine her creations, the clearer it becomes apparent that something is a little off.

The dense strands made of silicone she crafts stretch beyond the shelves supporting them, drooping off the edges towards the floor. The gnarled tubular forms expand till they rupture. Certain pieces leave their transparent enclosures entirely, becoming a collector for dust and hair. One could imagine the reviews are unlikely to earn positive.

There are moments I feel this sense that things seem animated inside an area,” remarks the sculptor. Hence I started using this substance as it offers such an organic feel and appearance.”

Certainly one can detect rather body horror in the artist's creations, starting with the phallic bulge which extends, similar to a rupture, off its base at the exhibition's heart, to the intestinal coils made of silicone that rupture as if in crisis. On one wall, Herfeldt has framed photocopies depicting the sculptures viewed from different angles: resembling squirming organisms seen in scientific samples, or formations on culture plates.

I am fascinated by is how certain elements in our bodies taking place which possess independent existence,” she says. Elements that are invisible or command.”

Talking of unmanageable factors, the poster for the show features a photograph showing a dripping roof within her workspace in Kreuzberg, Berlin. Constructed made in the seventies and, she says, was instantly hated among the community since many older edifices were removed to allow its construction. By the time dilapidated when Herfeldt – originally from Munich although she spent her youth near Hamburg prior to moving to the capital in her youth – began using the space.

This decrepit property caused issues for her work – she couldn’t hang her pieces anxiously potential harm – yet it also proved compelling. Lacking architectural drawings accessible, it was unclear how to repair any of the issues that arose. After a part of the roof in Herfeldt’s studio was saturated enough it collapsed entirely, the only solution was to replace the panel with a new one – and so the cycle continued.

At another site, Herfeldt says the leaking was so bad so multiple collection units were installed above the false roof in order to redirect leaks to another outlet.

“I realised that the structure was like a body, a totally dysfunctional body,” the artist comments.

These conditions reminded her of Dark Star, John Carpenter’s debut movie from the seventies concerning a conscious ship that develops independence. Additionally, observers may note through the heading – a trio of references – more movies have inspired shaping the artist's presentation. These titles refer to main characters in the slasher film, another scary movie and Alien respectively. Herfeldt cites a critical analysis written by Carol J Clover, which identifies the last women standing a distinctive cinematic theme – protagonists by themselves to triumph.

These figures are somewhat masculine, reserved in nature and she can survive because she’s quite clever,” the artist explains of the archetypal final girl. They avoid substances or engage intimately. Regardless the viewer’s gender, all empathize with this character.”

She draws a similarity linking these figures with her creations – objects which only holding in place under strain they’re under. So is her work really concerning cultural decay beyond merely leaky ceilings? Similar to various systems, these materials meant to insulate and guard against harm in fact are decaying in our environment.

“Completely,” she confirms.

Earlier in her career with sealant applicators, the artist worked with alternative odd mediums. 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 feeling these peculiar objects might animate – some are concertinaed like caterpillars mid-crawl, pieces hang loosely on vertical planes or spill across doorways gathering grime from contact (She prompts viewers to touch and soil the works). Similar to the foam artworks, the textile works also occupy – and breaking out of – cheap looking transparent cases. These are unattractive objects, and that's the essence.

“These works possess a specific look that draws viewers compelled by, and at the same time appearing gross,” she says grinning. “The art aims for absent, but it’s actually very present.”

Herfeldt's goal isn't work to make you feel ease or aesthetically soothed. Rather, she aims for uncomfortable, awkward, or even humor. But if you start to feel a moist sensation overhead additionally, don’t say this was foreshadowed.