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If you're planning washroom remodeling, it might be wise not to choose engaging this German artist for such tasks.

Certainly, she's an expert using sealant applicators, creating intriguing artworks from this unlikely substance. However the more examine these pieces, the stronger you realise a certain aspect feels slightly unnerving.

Those hefty lengths from the foam she crafts stretch over display surfaces supporting them, sagging downwards towards the floor. The knotty silicone strands swell until they split. Some creations escape their transparent enclosures completely, turning into a collector for grime and particles. It's safe to say the ratings are unlikely to earn favorable.

There are moments I feel the feeling that things seem animated in a room,” says the German artist. Hence I turned to this substance because it has this very bodily feel and appearance.”

In fact one can detect almost visceral about Herfeldt’s work, from that protruding shape that protrudes, similar to a rupture, from its cylindrical stand in the centre of the gallery, and the winding tubes of foam which split open resembling bodily failures. Displayed nearby, the artist presents images showing the pieces viewed from different angles: resembling squirming organisms seen in scientific samples, or growths on a petri-dish.

“It interests me that there are things in our bodies occurring that also have a life of their own,” Herfeldt explains. “Things which remain unseen or control.”

Regarding unmanageable factors, the poster promoting the event features a picture of the leaky ceiling at her creative space in Kreuzberg, Berlin. Constructed erected decades ago and according to her, faced immediate dislike from residents since many historic structures were removed for its development. By the time in a state of disrepair as the artist – who was born in Munich although she spent her youth north of Hamburg prior to moving to the capital as a teenager – began using the space.

This deteriorating space caused issues to Herfeldt – it was risky to display her art works anxiously potential harm – yet it also proved fascinating. Lacking architectural drawings available, it was unclear the way to fix the problems which occurred. Once an overhead section in Herfeldt’s studio became so sodden it gave way completely, the only solution was to replace the damaged part – and so the cycle continued.

Elsewhere on the property, she describes dripping was extreme that several drainage containers were set up above the false roof to divert leaks to another outlet.

It dawned on me that this place resembled an organism, a totally dysfunctional body,” the artist comments.

These conditions reminded her of the sci-fi movie, John Carpenter’s debut cinematic piece concerning a conscious ship that develops independence. And as you might notice from the show’s title – a trio of references – more movies have inspired to have influenced this exhibition. The three names indicate main characters from a horror classic, Halloween plus the sci-fi hit respectively. The artist references a 1987 essay from a scholar, outlining these “final girls” an original movie concept – female characters isolated to overcome.

They often display toughness, reserved in nature and she can survive because she’s quite clever,” the artist explains regarding this trope. They avoid substances nor sexual activity. It is irrelevant who is watching, everyone can relate to this character.”

She draws a parallel from these protagonists with her creations – elements that barely maintaining position despite the pressures they face. Is the exhibition more about societal collapse beyond merely water damage? Similar to various systems, these materials meant to insulate and guard against harm are actually slowly eroding within society.

“Oh, totally,” she confirms.

Earlier in her career using foam materials, Herfeldt used alternative odd mediums. Past displays included organic-looking pieces made from fabric similar to you might see within outdoor gear or inside a jacket. Once more, there's the sense these strange items might animate – a few are compressed like caterpillars mid-crawl, pieces hang loosely on vertical planes or extend through entries collecting debris from touch (Herfeldt encourages people to handle and dirty her art). As with earlier creations, the textile works are also housed in – leaving – cheap looking acrylic glass boxes. These are unattractive objects, and that's the essence.

“These works possess a specific look that somehow you feel highly drawn to, and at the same time appearing gross,” the artist comments grinning. “It attempts to seem not there, however, it is highly noticeable.”

Herfeldt's goal isn't work to make you feel ease or aesthetically soothed. Conversely, her intention is to evoke uncomfortable, odd, maybe even amused. However, should you notice water droplets overhead too, don’t say this was foreshadowed.