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When considering restroom upgrades, it might be wise to steer clear of engaging the sculptor for such tasks.

Certainly, she's highly skilled using sealant applicators, producing fascinating artworks from this unlikely medium. Yet as you observe her creations, the more one notices a certain aspect seems somewhat unnerving.

The dense tubes made of silicone she crafts extend over display surfaces where they rest, drooping off the edges below. The knotty foam pipes swell before bursting open. Some creations leave the display cases fully, evolving into an attractor of debris and fibers. Let's just say the ratings would not be pretty.

“I sometimes have the feeling that things are alive inside an area,” remarks the German artist. “That’s why I turned to silicone sealant due to its this very bodily feel and appearance.”

In fact there’s something almost visceral in Herfeldt’s work, including the suggestive swelling which extends, like a medical condition, from the support within the showspace, or the gut-like spirals made of silicone which split open like medical emergencies. On one wall, the artist presents images of the works captured in multiple views: appearing as squirming organisms seen in scientific samples, or formations on a petri-dish.

I am fascinated by is the idea within us happening that seem to hold a life of their own,” she says. Phenomena which remain unseen or control.”

Talking of unmanageable factors, the promotional image promoting the event includes a picture showing a dripping roof in her own studio located in Berlin. Constructed erected decades ago and, she says, faced immediate dislike from residents since many old buildings got demolished for its development. The place was run-down as the artist – who was born in Munich although she spent her youth in northern Germany before arriving in Berlin as a teenager – began using the space.

This deteriorating space proved challenging for her work – she couldn’t hang the sculptures without concern potential harm – but it was also compelling. Without any blueprints accessible, no one knew how to repair the malfunctions which occurred. After a part of the roof within her workspace got thoroughly soaked it gave way completely, the single remedy involved installing the panel with a new one – thus repeating the process.

In a different area, Herfeldt says the leaking was so bad so multiple collection units got placed within the drop ceiling to divert leaks to another outlet.

It dawned on me that this place resembled an organism, an entirely malfunctioning system,” she says.

These conditions evoked memories of Dark Star, the director's first 1974 film about an AI-powered spacecraft that develops independence. As the exhibition's title suggests from the show’s title – a trio of references – other cinematic works influenced to have influenced Herfeldt’s show. These titles refer to the leading women in Friday 13th, the iconic thriller plus the sci-fi hit respectively. She mentions a critical analysis from a scholar, outlining these surviving characters a distinctive cinematic theme – female characters isolated to save the day.

These figures are somewhat masculine, rather quiet enabling their survival thanks to resourcefulness,” she elaborates of the archetypal final girl. They avoid substances or engage intimately. Regardless the viewer’s gender, we can all identify with the survivor.”

The artist identifies a connection linking these figures to her artworks – objects which only staying put under strain they face. Does this mean the art more about societal collapse than just dripping roofs? As with many structures, these materials meant to insulate and guard against harm are actually slowly eroding within society.

“Oh, totally,” she confirms.

Before finding inspiration in the silicone gun, the artist worked with different unconventional substances. Past displays have involved tongue-like shapes using a synthetic material typical for in insulated clothing or apparel lining. Once more, there's the sense these peculiar objects might animate – a few are compressed resembling moving larvae, pieces hang loosely off surfaces or spill across doorways gathering grime from contact (The artist invites viewers to touch leaving marks on pieces). Like the silicone sculptures, the textile works also occupy – leaving – cheap looking transparent cases. These are unattractive objects, and that's the essence.

“These works possess a certain aesthetic that somehow you feel very attracted to, yet simultaneously appearing gross,” the artist comments with a smile. “It attempts to seem absent, yet in reality highly noticeable.”

The artist does not create pieces that offer comfortable or visual calm. Conversely, she wants you to feel uncomfortable, awkward, or even humor. However, should you notice a moist sensation on your head additionally, remember the alert was given.