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When considering washroom remodeling, it's advisable to avoid employing this German artist to handle it.

Indeed, she's a whiz with a silicone gun, creating compelling sculptures out of an unusual art material. However longer you observe her creations, the more you realise that an element seems somewhat unnerving.

Those hefty tubes made of silicone she produces extend beyond the shelves supporting them, drooping downwards below. The knotty silicone strands expand till they rupture. A few artworks leave the display cases completely, evolving into an attractor for grime and particles. Let's just say the feedback are unlikely to earn pretty.

“I sometimes have this sense that objects possess life within a space,” states the German artist. Hence I came to use this substance as it offers a distinctly physical sensation and look.”

Indeed there’s something almost visceral regarding these sculptures, starting with the suggestive swelling which extends, similar to a rupture, from the support in the centre of the gallery, to the intestinal coils made of silicone that burst as if in crisis. On one wall, are mounted prints of the works seen from various perspectives: they look like microscopic invaders seen in scientific samples, or formations on culture plates.

What captivates me that there are things within us taking place that seem to hold their own life,” the artist notes. Elements you can’t see or manage.”

On the subject of things she can’t control, the poster featured in the exhibition includes a picture of the leaky ceiling at her creative space in Kreuzberg, Berlin. The building had been built in the early 1970s and according to her, was quickly despised by local people since many older edifices were torn down to allow its construction. The place was run-down when Herfeldt – a native of that city yet raised in northern Germany prior to moving to the capital during her teens – began using the space.

The rundown building caused issues for her work – placing artworks was difficult the sculptures without fearing potential harm – but it was also compelling. With no building plans on hand, it was unclear the way to fix any of the issues that developed. When the ceiling panel at the artist's area got thoroughly soaked it collapsed entirely, the single remedy was to replace it with another – and so the cycle continued.

Elsewhere on the property, the artist explains the leaking was so bad so multiple collection units were set up in the suspended ceiling to divert the water to a different sink.

“I realised that this place resembled an organism, a totally dysfunctional body,” the artist comments.

This scenario reminded her of the sci-fi movie, the initial work 1974 film about an AI-powered spacecraft which becomes autonomous. And as you might notice from the show’s title – a trio of references – more movies have inspired to have influenced the artist's presentation. The three names point to the leading women in Friday 13th, Halloween and Alien as listed. Herfeldt cites a 1987 essay written by Carol J Clover, outlining these “final girls” a distinctive cinematic theme – female characters isolated to overcome.

“She’s a bit tomboyish, on the silent side and they endure thanks to resourcefulness,” says Herfeldt about such characters. “They don’t take drugs or have sex. Regardless who is watching, everyone can relate to this character.”

She draws a parallel linking these figures to her artworks – objects which only maintaining position amidst stress affecting them. Is the exhibition more about cultural decay beyond merely dripping roofs? As with many structures, substances like silicone meant to insulate and guard from deterioration in fact are decaying in our environment.

“Oh, totally,” says Herfeldt.

Before finding inspiration using foam materials, the artist worked with alternative odd mediums. Past displays featured forms resembling tongues made from a synthetic material found in in insulated clothing or in coats. Similarly, one finds the sense these peculiar objects might animate – certain pieces are folded resembling moving larvae, pieces hang loosely on vertical planes or extend through entries collecting debris from touch (Herfeldt encourages people to handle leaving marks on pieces). Like the silicone sculptures, these nylon creations also occupy – and escaping from – budget-style transparent cases. These are unattractive objects, and really that’s the point.

“The sculptures exhibit a certain aesthetic that draws viewers very attracted to, yet simultaneously appearing gross,” Herfeldt remarks grinning. “It tries to be absent, however, it is highly noticeable.”

The artist does not create work to make you feel relaxation or visual calm. Conversely, she aims for unease, strange, or even humor. And if there's a moist sensation on your head as well, consider yourself the alert was given.