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Should you be thinking about washroom remodeling, it might be wise not to choose hiring the sculptor for such tasks.

Indeed, Herfeldt is an expert with a silicone gun, producing fascinating creations with a surprising substance. However as you look at the artworks, the stronger it becomes apparent that something seems somewhat off.

The thick lengths made of silicone she crafts extend over their supports on which they sit, hanging off the edges towards the floor. The knotty tubular forms expand before bursting open. Certain pieces leave their acrylic glass box homes completely, evolving into a collector of debris and fibers. One could imagine the feedback would not be pretty.

There are moments I feel the feeling that things are alive inside an area,” remarks Herfeldt. Hence I came to use this substance due to its such an organic texture and feeling.”

Certainly there’s something somewhat grotesque about the artist's creations, from the suggestive swelling that protrudes, hernia-like, from the support in the centre of the gallery, and the winding tubes from the material that burst like medical emergencies. Along a surface, Herfeldt has framed photocopies showing the pieces seen from various perspectives: appearing as microscopic invaders picked up on a microscope, or formations on culture plates.

What captivates me is how certain elements inside human forms occurring that also have a life of their own,” the artist notes. Elements you can’t see or control.”

Talking of things she can’t control, the promotional image promoting the event displays a photograph of water damage overhead in her own studio in Kreuzberg, Berlin. The building had been made in the seventies and according to her, was quickly despised among the community as numerous historic structures were torn down for its development. The place was dilapidated upon her – originally from Munich although she spent her youth in northern Germany then relocating to Berlin during her teens – began using the space.

The rundown building was frustrating for her work – it was risky to display her art works without concern risk of ruin – yet it also proved fascinating. With no building plans accessible, it was unclear the way to fix the malfunctions that arose. Once an overhead section within her workspace got thoroughly soaked it collapsed entirely, the single remedy meant swapping it with another – thus repeating the process.

At another site, the artist explains the leaking was so bad that several shower basins were set up within the drop ceiling in order to redirect the water to a different sink.

I understood that this place acted as a physical form, an entirely malfunctioning system,” Herfeldt states.

This scenario brought to mind a classic film, John Carpenter’s debut cinematic piece concerning a conscious ship that develops independence. As the exhibition's title suggests given the naming – Alice, Laurie & Ripley – more movies have inspired to have influenced Herfeldt’s show. These titles indicate the leading women in the slasher film, the iconic thriller and Alien as listed. The artist references an academic paper by the American professor, outlining these “final girls” a distinctive cinematic theme – protagonists by themselves to triumph.

“She’s a bit tomboyish, reserved in nature enabling their survival thanks to resourcefulness,” the artist explains about such characters. “They don’t take drugs nor sexual activity. It is irrelevant the audience's identity, we can all identify with the final girl.”

The artist identifies a similarity between these characters to her artworks – things that are just about staying put despite the pressures affecting them. Is the exhibition more about societal collapse rather than simply water damage? As with many structures, substances like silicone that should seal and protect against harm are actually slowly eroding within society.

“Absolutely,” she confirms.

Prior to discovering her medium with sealant applicators, Herfeldt used alternative odd mediums. Previous exhibitions included forms resembling tongues crafted from a synthetic material found in in insulated clothing or in coats. Once more, there's the impression these peculiar objects might animate – certain pieces are folded resembling moving larvae, some droop heavily off surfaces or spill across doorways collecting debris from touch (She prompts people to handle leaving marks on pieces). Like the silicone sculptures, those fabric pieces are similarly displayed in – leaving – cheap looking display enclosures. They’re ugly looking things, which is intentional.

“The sculptures exhibit a specific look that somehow you feel highly drawn to, yet simultaneously appearing gross,” she says grinning. “It tries to be not there, however, it is extremely obvious.”

The artist does not create work to make you feel ease or beauty. Rather, she aims for unease, awkward, or even humor. However, should you notice a moist sensation overhead too, don’t say this was foreshadowed.