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When considering washroom remodeling, you may want to avoid engaging this German artist for the job.

Truly, she's an expert using sealant applicators, producing compelling sculptures out of an unusual substance. Yet as you observe her creations, the more it becomes apparent that something feels slightly strange.

The dense strands of sealant Herfeldt forms reach beyond their supports where they rest, drooping off the edges to the ground. Those twisted tubular forms swell before bursting open. Certain pieces escape their transparent enclosures fully, becoming a collector for grime and particles. It's safe to say the ratings would not be positive.

“I sometimes have the feeling that objects are alive in a room,” states the German artist. This is why I came to use silicone sealant because it has such an organic feel and appearance.”

Certainly there is an element rather body horror in these sculptures, including the phallic bulge which extends, hernia-like, off its base at the exhibition's heart, or the gut-like spirals from the material that burst as if in crisis. On one wall, are mounted prints showing the pieces viewed from different angles: resembling microscopic invaders seen in scientific samples, or colonies on culture plates.

What captivates me is the idea inside human forms happening that seem to hold independent existence,” the artist notes. “Things you can’t see or control.”

Regarding elements beyond her influence, the exhibition advertisement featured in the exhibition displays a photograph showing a dripping roof within her workspace in Kreuzberg, Berlin. Constructed made in the seventies and, she says, was quickly despised by local people as numerous old buildings got demolished for its development. By the time run-down when Herfeldt – originally from Munich but grew up near Hamburg before arriving in Berlin as a teenager – moved in.

This decrepit property proved challenging for her work – it was risky to display her art works anxiously potential harm – however, it was intriguing. Lacking architectural drawings on hand, no one knew how to repair any of the issues that developed. After a part of the roof at the artist's area became so sodden it fell apart fully, the only solution meant swapping the panel with a new one – thus repeating the process.

In a different area, Herfeldt says the leaking was so bad that a series of shower basins got placed within the drop ceiling in order to redirect the moisture elsewhere.

“I realised that the building acted as a physical form, a totally dysfunctional body,” Herfeldt states.

The situation reminded her of Dark Star, John Carpenter’s debut 1974 film about an AI-powered spacecraft which becomes autonomous. And as you might notice through the heading – Alice, Laurie & Ripley – other cinematic works influenced to have influenced the artist's presentation. These titles refer to the female protagonists from a horror classic, the iconic thriller and the extraterrestrial saga in that order. She mentions a 1987 essay written by Carol J Clover, that describes the last women standing a distinctive cinematic theme – women left alone to overcome.

These figures are somewhat masculine, rather quiet enabling their survival due to intelligence,” says Herfeldt about such characters. No drug use occurs nor sexual activity. Regardless who is watching, everyone can relate to this character.”

The artist identifies a similarity from these protagonists with her creations – things that are just about holding in place under strain they’re under. Does this mean the art really concerning societal collapse than just dripping roofs? Similar to various systems, substances like silicone meant to insulate and guard us from damage are gradually failing in our environment.

“Oh, totally,” says Herfeldt.

Prior to discovering her medium using foam materials, the artist worked with alternative odd mediums. Previous exhibitions featured tongue-like shapes made from a synthetic material typical for on a sleeping bag or apparel lining. Similarly, one finds the sense these peculiar objects might animate – a few are compressed resembling moving larvae, others lollop down from walls or extend through entries gathering grime from contact (She prompts viewers to touch leaving marks on pieces). Similar to the foam artworks, the textile works are similarly displayed in – leaving – cheap looking display enclosures. The pieces are deliberately unappealing, and that's the essence.

“These works possess a certain aesthetic which makes one very attracted to, and at the same time being quite repulsive,” the artist comments grinning. “The art aims for not there, however, it is extremely obvious.”

Herfeldt is not making pieces that offer relaxation or aesthetically soothed. Rather, she aims for uncomfortable, odd, or even humor. And if there's water droplets on your head additionally, don’t say this was foreshadowed.