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If you're planning restroom upgrades, it might be wise to avoid engaging this German artist for such tasks.

Indeed, she's a whiz with a silicone gun, producing fascinating creations from this unlikely medium. But the more look at these pieces, the more it becomes apparent a certain aspect is a little unnerving.

The dense lengths from the foam she produces extend over their supports where they rest, drooping over the sides below. The gnarled foam pipes swell before bursting open. A few artworks break free from their transparent enclosures completely, becoming a collector for grime and particles. It's safe to say the feedback might not get pretty.

There are moments I feel this sense that things are alive within a space,” says the German artist. This is why I turned to this substance because it has such an organic sensation and look.”

Indeed there’s something almost visceral in Herfeldt’s work, including the suggestive swelling jutting out, similar to a rupture, off its base in the centre of the gallery, and the winding tubes from the material which split open resembling bodily failures. On one wall, are mounted images of the works captured in multiple views: they look like microscopic invaders seen in scientific samples, or growths in a lab setting.

What captivates me that there are things within us occurring that seem to hold independent existence,” she says. Elements you can’t see or command.”

On the subject of unmanageable factors, the poster featured in the exhibition includes a picture of water damage overhead at her creative space located in Berlin. The building had been erected decades ago as she explains, was instantly hated from residents because a lot of older edifices were torn down for its development. By the time run-down when Herfeldt – who was born in Munich but grew up north of Hamburg prior to moving to the capital in her youth – began using the space.

This deteriorating space proved challenging to Herfeldt – placing artworks was difficult her art works without concern they might be damaged – but it was also fascinating. With no building plans accessible, no one knew the way to fix the problems which occurred. After a part of the roof in Herfeldt’s studio got thoroughly soaked it gave way completely, the sole fix involved installing the damaged part – and so the cycle continued.

At another site, the artist explains the water intrusion was severe so multiple drainage containers got placed in the suspended ceiling to channel leaks to another outlet.

It dawned on me that this place was like a body, a completely flawed entity,” Herfeldt states.

This scenario evoked memories of the sci-fi movie, the director's first 1974 film about an AI-powered spacecraft that develops independence. And as you might notice from the show’s title – Alice, Laurie & Ripley – more movies have inspired to have influenced Herfeldt’s show. Those labels indicate the female protagonists in the slasher film, Halloween and Alien respectively. Herfeldt cites an academic paper from a scholar, that describes the last women standing a distinctive cinematic theme – female characters isolated to overcome.

These figures are somewhat masculine, reserved in nature and they endure because she’s quite clever,” the artist explains of the archetypal final girl. They avoid substances nor sexual activity. And it doesn’t matter the audience's identity, everyone can relate to the survivor.”

The artist identifies a parallel between these characters with her creations – things that are just about holding in place amidst stress affecting them. Does this mean the art really concerning social breakdown than just leaky ceilings? Similar to various systems, such components meant to insulate and guard against harm in fact are decaying around us.

“Absolutely,” says Herfeldt.

Earlier in her career using foam materials, she experimented with different unconventional substances. Past displays included tongue-like shapes crafted from fabric similar to typical for on a sleeping bag or apparel lining. Once more, there's the feeling these peculiar objects could come alive – certain pieces are folded like caterpillars mid-crawl, pieces hang loosely from walls blocking passages collecting debris from touch (Herfeldt encourages people to handle and soil the works). As with earlier creations, the textile works are also housed in – leaving – budget-style display enclosures. These are unattractive objects, which is intentional.

“They have a particular style that somehow you feel highly drawn to, while also they’re very disgusting,” the artist comments with a smile. “It attempts to seem absent, however, it is highly noticeable.”

Herfeldt is not making art to provide ease or aesthetically soothed. Rather, she aims for unease, strange, perhaps entertained. And if there's a moist sensation overhead additionally, don’t say you haven’t been warned.