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When considering bathroom renovations, it might be wise to steer clear of hiring this German artist for such tasks.

Truly, Herfeldt is highly skilled with a silicone gun, producing intriguing sculptures out of an unusual substance. But as you look at her creations, the stronger it becomes apparent that something feels slightly unnerving.

The thick tubes of sealant she produces extend beyond their supports on which they sit, hanging over the sides below. The knotty foam pipes bulge till they rupture. Some creations escape their acrylic glass box homes fully, evolving into a magnet for grime and particles. One could imagine the ratings might not get favorable.

There are moments I feel this sense that things possess life inside an area,” says the sculptor. “That’s why I came to use this substance as it offers this very bodily sensation and look.”

Certainly there is an element somewhat grotesque regarding these sculptures, starting with the suggestive swelling which extends, like a medical condition, from the support within the showspace, or the gut-like spirals of foam that burst as if in crisis. On one wall, the artist presents images showing the pieces viewed from different angles: appearing as microscopic invaders observed under magnification, or growths on culture plates.

I am fascinated by is the idea within us taking place that seem to hold independent existence,” Herfeldt explains. Phenomena you can’t see or command.”

On the subject of elements beyond her influence, the exhibition advertisement promoting the event features a photograph showing a dripping roof at her creative space in the German capital. The building had been erected decades ago and, she says, faced immediate dislike by local people since many historic structures were torn down to allow its construction. The place was run-down as the artist – a native of that city although she spent her youth in northern Germany then relocating to Berlin in her youth – moved in.

This deteriorating space proved challenging for the artist – placing artworks was difficult the sculptures without fearing potential harm – however, it was fascinating. Lacking architectural drawings available, no one knew the way to fix the problems that developed. When the ceiling panel at the artist's area got thoroughly soaked it gave way completely, the sole fix was to replace the panel with a new one – perpetuating the issue.

In a different area, the artist explains dripping was extreme so multiple collection units got placed within the drop ceiling in order to redirect leaks to another outlet.

It dawned on me that the structure resembled an organism, an entirely malfunctioning system,” Herfeldt states.

This scenario evoked memories of a classic film, the initial work cinematic piece about an AI-powered spacecraft which becomes autonomous. And as you might notice from the show’s title – a trio of references – that’s not the only film shaping the artist's presentation. Those labels refer to the female protagonists in the slasher film, the iconic thriller plus the sci-fi hit respectively. She mentions an academic paper written by Carol J Clover, outlining the last women standing an original movie concept – female characters isolated to triumph.

“She’s a bit tomboyish, on the silent side and they endure thanks to resourcefulness,” the artist explains of the archetypal final girl. No drug use occurs or have sex. And it doesn’t matter the viewer’s gender, everyone can relate to this character.”

Herfeldt sees a parallel from these protagonists with her creations – elements that barely maintaining position despite the pressures affecting them. Is the exhibition focused on societal collapse than just water damage? Because like so many institutions, these materials meant to insulate and guard from deterioration are gradually failing in our environment.

“Completely,” she confirms.

Prior to discovering her medium with sealant applicators, the artist worked with other unusual materials. Previous exhibitions featured forms resembling tongues using fabric similar to you might see on a sleeping bag or apparel lining. Similarly, one finds the feeling these peculiar objects might animate – certain pieces are folded resembling moving larvae, some droop heavily from walls or spill across doorways gathering grime from contact (The artist invites people to handle and dirty her art). Similar to the foam artworks, the textile works are also housed in – and breaking out of – cheap looking transparent cases. They’re ugly looking things, and that's the essence.

“They have a certain aesthetic that somehow you feel compelled by, while also being quite repulsive,” she says grinning. “It tries to be not there, but it’s actually highly noticeable.”

Herfeldt's goal isn't pieces that offer ease or beauty. Conversely, her intention is to evoke unease, odd, maybe even amused. However, should you notice water droplets overhead as well, consider yourself you haven’t been warned.