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If you're planning bathroom renovations, you may want to steer clear of hiring the sculptor to handle it.

Certainly, Herfeldt is an expert using sealant applicators, creating intriguing creations out of an unusual substance. But longer you examine her creations, the stronger you realise that something seems somewhat off.

The thick lengths of sealant she produces reach past display surfaces supporting them, hanging downwards to the ground. The gnarled silicone strands swell until they split. A few artworks break free from the display cases completely, becoming an attractor for grime and particles. It's safe to say the ratings would not be favorable.

At times I get this sense that items seem animated within a space,” remarks the sculptor. This is why I started using this foam material because it has this very bodily feel and appearance.”

In fact one can detect rather body horror in the artist's creations, from the phallic bulge that protrudes, like a medical condition, from its cylindrical stand within the showspace, or the gut-like spirals from the material which split open as if in crisis. Along a surface, are mounted photocopies depicting the sculptures captured in multiple views: they look like microscopic invaders seen in scientific samples, or formations on a petri-dish.

What captivates me is the idea within us happening which possess independent existence,” she says. “Things which remain unseen or command.”

On the subject of elements beyond her influence, the exhibition advertisement promoting the event features an image showing a dripping roof at her creative space in Kreuzberg, Berlin. The building had been erected decades ago and, she says, faced immediate dislike among the community since many old buildings got demolished for its development. It was already in a state of disrepair when Herfeldt – originally from Munich yet raised near Hamburg before arriving in Berlin during her teens – took up residence.

The rundown building caused issues for her work – placing artworks was difficult her pieces without concern potential harm – however, it was intriguing. Without any blueprints accessible, it was unclear the way to fix the problems that arose. When the ceiling panel in Herfeldt’s studio got thoroughly soaked it gave way completely, the only solution involved installing the panel with a new one – and so the cycle continued.

At another site, she describes the leaking was so bad that several collection units were installed above the false roof in order to redirect leaks to another outlet.

I understood that the building resembled an organism, a totally dysfunctional body,” Herfeldt states.

The situation brought to mind a classic film, the initial work cinematic piece featuring a smart spaceship which becomes autonomous. And as you might notice from the show’s title – a trio of references – more movies have inspired shaping this exhibition. Those labels point to the leading women in the slasher film, Halloween and Alien as listed. Herfeldt cites an academic paper written by Carol J Clover, outlining these surviving characters a distinctive cinematic theme – female characters isolated to overcome.

These figures are somewhat masculine, on the silent side and she can survive due to intelligence,” says Herfeldt regarding this trope. No drug use occurs or have sex. It is irrelevant the audience's identity, all empathize with the final girl.”

The artist identifies a connection linking these figures to her artworks – objects which only holding in place under strain they’re under. Is the exhibition really concerning social breakdown than just dripping roofs? Because like so many institutions, substances like silicone intended to secure and shield us from damage in fact are decaying within society.

“Absolutely,” says Herfeldt.

Earlier in her career using foam materials, Herfeldt used other unusual materials. Recent shows included forms resembling tongues crafted from fabric similar to typical for within outdoor gear or in coats. Again there is the feeling these peculiar objects seem lifelike – a few are compressed resembling moving larvae, others lollop down on vertical planes or extend through entries collecting debris from touch (The artist invites viewers to touch and dirty her art). As with earlier creations, the textile works are similarly displayed in – leaving – inexpensive-seeming transparent cases. The pieces are deliberately unappealing, and really that’s the point.

“These works possess a particular style that draws viewers highly drawn to, and at the same time they’re very disgusting,” Herfeldt remarks amusedly. “The art aims for not there, however, it is very present.”

Herfeldt's goal isn't art to provide comfortable or beauty. Rather, she wants you to feel discomfort, odd, perhaps entertained. But if you start to feel something wet dripping overhead too, remember this was foreshadowed.