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When considering restroom upgrades, it's advisable not to choose engaging the sculptor for such tasks.

Certainly, she's an expert using sealant applicators, creating intriguing artworks with a surprising substance. Yet the more observe these pieces, the more you realise a certain aspect seems somewhat strange.

Those hefty lengths made of silicone Herfeldt forms reach beyond their supports supporting them, sagging over the sides towards the floor. Those twisted tubular forms bulge before bursting open. Some creations leave their acrylic glass box homes fully, becoming a collector of debris and fibers. One could imagine the feedback might not get pretty.

“I sometimes have this sense that things are alive within a space,” remarks Herfeldt. This is why I started using silicone sealant due to its a distinctly physical texture and feeling.”

Indeed there is an element rather body horror regarding these sculptures, starting with that protruding shape that protrudes, similar to a rupture, from the support in the centre of the gallery, or the gut-like spirals of foam which split open as if in crisis. On one wall, are mounted prints depicting the sculptures viewed from different angles: they look like squirming organisms picked up on a microscope, or colonies on a petri-dish.

What captivates me is the idea in our bodies happening that seem to hold independent existence,” she says. Phenomena which remain unseen or control.”

On the subject of elements beyond her influence, the promotional image featured in the exhibition features a picture of the leaky ceiling at her creative space in the German capital. Constructed built in the early 1970s and according to her, was quickly despised by local people because a lot of older edifices were torn down to allow its construction. By the time in a state of disrepair upon her – originally from Munich yet raised near Hamburg then relocating to Berlin in her youth – moved in.

The rundown building caused issues for the artist – it was risky to display her pieces without fearing potential harm – but it was also intriguing. Lacking architectural drawings available, no one knew how to repair any of the issues which occurred. After a part of the roof in Herfeldt’s studio was saturated enough it collapsed entirely, the sole fix was to replace the damaged part – perpetuating the issue.

Elsewhere on the property, the artist explains the water intrusion was severe that several collection units were set up within the drop ceiling in order to redirect the moisture elsewhere.

I understood that the building resembled an organism, a totally dysfunctional body,” the artist comments.

This scenario evoked memories of a classic film, the initial work cinematic piece about an AI-powered spacecraft which becomes autonomous. As the exhibition's title suggests from the show’s title – Alice, Laurie & Ripley – that’s not the only film to have influenced the artist's presentation. These titles indicate main characters from a horror classic, the iconic thriller plus the sci-fi hit respectively. Herfeldt cites an academic paper written by Carol J Clover, outlining these “final girls” a distinctive cinematic theme – women left alone to triumph.

“She’s a bit tomboyish, reserved in nature and she can survive due to intelligence,” says Herfeldt regarding this trope. No drug use occurs or engage intimately. It is irrelevant who is watching, all empathize with the final girl.”

The artist identifies a connection between these characters to her artworks – elements that barely maintaining position under strain they’re under. Does this mean the art really concerning cultural decay than just water damage? Because like so many institutions, these materials meant to insulate and guard against harm are actually slowly eroding in our environment.

“Completely,” responds the artist.

Before finding inspiration with sealant applicators, Herfeldt used different unconventional substances. Past displays included tongue-like shapes crafted from the kind of nylon fabric typical for on a sleeping bag or inside a jacket. Again there is the impression these peculiar objects could come alive – some are concertinaed resembling moving larvae, pieces hang loosely off surfaces blocking passages attracting dirt from footprints (The artist invites audiences to interact and soil the works). As with earlier creations, the textile works are also housed in – leaving – inexpensive-seeming display enclosures. They’re ugly looking things, and really that’s the point.

“These works possess a particular style that somehow you feel compelled by, yet simultaneously appearing gross,” she says with a smile. “It tries to be not there, but it’s actually extremely obvious.”

The artist does not create work to make you feel comfortable or beauty. Instead, she aims for unease, odd, perhaps entertained. However, should you notice water droplets from above as well, consider yourself this was foreshadowed.