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When considering washroom remodeling, it might be wise not to choose engaging the sculptor to handle it.

Indeed, she's highly skilled using sealant applicators, crafting compelling creations from this unlikely substance. However longer you examine her creations, the stronger one notices a certain aspect seems somewhat unnerving.

The dense lengths made of silicone she produces reach past display surfaces on which they sit, hanging off the edges below. The knotty silicone strands bulge till they rupture. Certain pieces escape the display cases fully, turning into an attractor for grime and particles. It's safe to say the ratings might not get favorable.

At times I get an impression that objects seem animated inside an area,” remarks Herfeldt. “That’s why I turned to silicone sealant as it offers such an organic sensation and look.”

Certainly there is an element almost visceral regarding Herfeldt’s work, from the suggestive swelling which extends, hernia-like, off its base within the showspace, and the winding tubes from the material that rupture resembling bodily failures. Displayed nearby, are mounted images of the works viewed from different angles: appearing as squirming organisms picked up on a microscope, or growths in a lab setting.

What captivates me is the idea within us taking place which possess their own life,” the artist notes. “Things you can’t see or command.”

On the subject of elements beyond her influence, the exhibition advertisement for the show features an image showing a dripping roof in her own studio in the German capital. It was made in the seventies and according to her, was quickly despised from residents because a lot of historic structures got demolished for its development. The place was dilapidated when Herfeldt – a native of that city yet raised north of Hamburg before arriving in Berlin in her youth – moved in.

This deteriorating space proved challenging for the artist – it was risky to display the sculptures without concern they might be damaged – yet it also proved intriguing. Lacking architectural drawings on hand, nobody had a clue the way to fix any of the issues that arose. When the ceiling panel within her workspace got thoroughly soaked it collapsed entirely, the only solution involved installing the damaged part – perpetuating the issue.

In a different area, she describes the water intrusion was severe that several drainage containers got placed within the drop ceiling to divert leaks to another outlet.

I understood that this place acted as a physical form, a completely flawed entity,” she says.

These conditions brought to mind Dark Star, the director's first 1974 film featuring a smart spaceship which becomes autonomous. Additionally, observers may note given the naming – three distinct names – that’s not the only film shaping this exhibition. The three names refer to main characters from a horror classic, Halloween and Alien as listed. The artist references a 1987 essay written by Carol J Clover, which identifies the last women standing an original movie concept – female characters isolated to save the day.

They often display toughness, reserved in nature and they endure due to intelligence,” says Herfeldt regarding this trope. They avoid substances or engage intimately. And it doesn’t matter the viewer’s gender, everyone can relate to the survivor.”

She draws a parallel between these characters to her artworks – objects which only staying put under strain they face. Is the exhibition really concerning societal collapse rather than simply leaky ceilings? Similar to various systems, substances like silicone meant to insulate and guard us from damage are actually slowly eroding around us.

“Absolutely,” says Herfeldt.

Prior to discovering her medium using foam materials, she experimented with other unusual materials. Recent shows featured forms resembling tongues made from fabric similar to typical for on a sleeping bag or in coats. Again there is the feeling these strange items could come alive – a few are compressed resembling moving larvae, others lollop down from walls blocking passages attracting dirt from footprints (Herfeldt encourages people to handle and dirty her art). As with earlier creations, these nylon creations are also housed in – leaving – inexpensive-seeming transparent cases. The pieces are deliberately unappealing, which is intentional.

“These works possess a specific look that somehow you feel compelled by, and at the same time appearing gross,” Herfeldt remarks amusedly. “The art aims for absent, but it’s actually extremely obvious.”

The artist does not create work to make you feel comfortable or visual calm. Rather, she aims for uncomfortable, strange, maybe even amused. And if there's water droplets from above too, remember this was foreshadowed.