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When considering washroom remodeling, it's advisable to avoid engaging the sculptor for the job.

Certainly, Herfeldt is a whiz using sealant applicators, crafting fascinating sculptures out of an unusual art material. But as you observe these pieces, the stronger it becomes apparent a certain aspect feels slightly unnerving.

The dense strands of sealant she produces reach past the shelves on which they sit, drooping downwards to the ground. The knotty tubular forms bulge till they rupture. A few artworks leave their transparent enclosures completely, evolving into a magnet of debris and fibers. One could imagine the feedback are unlikely to earn favorable.

At times I get the feeling that items are alive in a room,” says the sculptor. “That’s why I came to use this substance as it offers such an organic feel and appearance.”

In fact there is an element almost visceral regarding the artist's creations, including that protruding shape that protrudes, hernia-like, off its base at the exhibition's heart, to the intestinal coils of foam which split open resembling bodily failures. Along a surface, are mounted prints depicting the sculptures captured in multiple views: they look like squirming organisms seen in scientific samples, or growths on a petri-dish.

“It interests me that there are things inside human forms taking place that seem to hold a life of their own,” Herfeldt explains. Elements which remain unseen or manage.”

Regarding unmanageable factors, the poster featured in the exhibition features an image of water damage overhead within her workspace located in Berlin. The building had been made in the seventies and according to her, was instantly hated by local people as numerous historic structures were removed in order to make way for it. It was already run-down as the artist – originally from Munich but grew up near Hamburg prior to moving to the capital as a teenager – moved in.

This deteriorating space caused issues to Herfeldt – it was risky to display her art works anxiously risk of ruin – yet it also proved compelling. Without any blueprints accessible, no one knew the way to fix the problems which occurred. When the ceiling panel within her workspace got thoroughly soaked it collapsed entirely, the only solution was to replace it with another – perpetuating the issue.

Elsewhere on the property, the artist explains dripping was extreme so multiple drainage containers were set up in the suspended ceiling in order to redirect the moisture elsewhere.

It dawned on me that this place was like a body, an entirely malfunctioning system,” Herfeldt states.

This scenario reminded her of the sci-fi movie, the director's first cinematic piece featuring a smart spaceship that develops independence. As the exhibition's title suggests from the show’s title – Alice, Laurie & Ripley – that’s not the only film impacting this exhibition. These titles indicate the leading women in the slasher film, the iconic thriller and Alien as listed. Herfeldt cites an academic paper written by Carol J Clover, that describes these “final girls” an original movie concept – female characters isolated to triumph.

They often display toughness, on the silent side and she can survive thanks to resourcefulness,” the artist explains regarding this trope. They avoid substances or engage intimately. And it doesn’t matter the viewer’s gender, we can all identify with the survivor.”

She draws a parallel between these characters and her sculptures – things that are just about maintaining position amidst stress they face. Does this mean the art more about societal collapse than just leaky ceilings? As with many structures, such components meant to insulate and guard from deterioration are gradually failing around us.

“Completely,” she confirms.

Prior to discovering her medium in the silicone gun, Herfeldt used different unconventional substances. Recent shows included tongue-like shapes made from the kind of nylon fabric you might see within outdoor gear or apparel lining. Again there is the impression these peculiar objects seem lifelike – some are concertinaed as insects in motion, some droop heavily from walls blocking passages collecting debris from touch (The artist invites audiences to interact and soil the works). Similar to the foam artworks, those fabric pieces also occupy – and breaking out of – cheap looking transparent cases. The pieces are deliberately unappealing, and that's the essence.

“They have a certain aesthetic which makes one compelled by, and at the same time they’re very disgusting,” the artist comments amusedly. “It attempts to seem not there, yet in reality extremely obvious.”

The artist does not create pieces that offer comfortable or aesthetically soothed. Conversely, she wants you to feel uncomfortable, odd, or even humor. However, should you notice water droplets from above additionally, remember the alert was given.