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If you're planning washroom remodeling, it might be wise not to choose hiring the sculptor for the job.

Certainly, Herfeldt is highly skilled in handling foam materials, producing fascinating sculptures from this unlikely art material. Yet as you observe her creations, the more one notices a certain aspect seems somewhat strange.

The thick lengths from the foam Herfeldt forms reach past their supports on which they sit, sagging off the edges towards the floor. The knotty foam pipes swell till they rupture. Certain pieces escape their transparent enclosures fully, becoming a magnet of debris and fibers. One could imagine the reviews might not get pretty.

At times I get an impression that objects possess life in a room,” says the German artist. “That’s why I started using this substance as it offers a distinctly physical sensation and look.”

Certainly there’s something somewhat grotesque regarding the artist's creations, starting with that protruding shape which extends, similar to a rupture, from the support within the showspace, and the winding tubes from the material that burst resembling bodily failures. Displayed nearby, are mounted images of the works captured in multiple views: appearing as microscopic invaders seen in scientific samples, or colonies on culture plates.

What captivates me is how certain elements within us happening which possess independent existence,” Herfeldt explains. Elements you can’t see or manage.”

Regarding things she can’t control, the poster promoting the event features an image showing a dripping roof within her workspace in Kreuzberg, Berlin. The building had been erected decades ago as she explains, was instantly hated by local people since many historic structures got demolished to allow its construction. By the time run-down as the artist – a native of that city but grew up near Hamburg before arriving in Berlin during her teens – took up residence.

The rundown building caused issues for the artist – placing artworks was difficult her art works without concern risk of ruin – however, it was fascinating. Lacking architectural drawings on hand, no one knew methods to address the problems that developed. After a part of the roof within her workspace got thoroughly soaked it gave way completely, the single remedy was to replace the damaged part – and so the cycle continued.

In a different area, Herfeldt says the water intrusion was severe so multiple drainage containers were set up in the suspended ceiling to divert leaks to another outlet.

I understood that the structure was like a body, an entirely malfunctioning system,” the artist comments.

The situation evoked memories of Dark Star, the initial work 1974 film featuring a smart spaceship which becomes autonomous. And as you might notice given the naming – a trio of references – other cinematic works influenced impacting Herfeldt’s show. These titles refer to the leading women in the slasher film, the iconic thriller plus the sci-fi hit as listed. Herfeldt cites a 1987 essay from a scholar, that describes these surviving characters as a unique film trope – female characters isolated to triumph.

“She’s a bit tomboyish, rather quiet enabling their survival thanks to resourcefulness,” she elaborates regarding this trope. “They don’t take drugs or engage intimately. It is irrelevant the viewer’s gender, all empathize with the final girl.”

She draws a similarity between these characters with her creations – things that are just about maintaining position amidst stress affecting them. Does this mean the art focused on social breakdown than just dripping roofs? Similar to various systems, such components that should seal and protect from deterioration are actually slowly eroding around us.

“Completely,” she confirms.

Prior to discovering her medium in the silicone gun, Herfeldt used different unconventional substances. Previous exhibitions have involved forms resembling tongues crafted from fabric similar to typical for in insulated clothing or inside a jacket. Once more, there's the feeling these peculiar objects might animate – some are concertinaed like caterpillars mid-crawl, some droop heavily off surfaces or extend through entries attracting dirt from footprints (The artist invites audiences to interact leaving marks on pieces). As with earlier creations, those fabric pieces are also housed in – and escaping from – inexpensive-seeming transparent cases. These are unattractive objects, and that's the essence.

“The sculptures exhibit a certain aesthetic which makes one compelled by, and at the same time appearing gross,” she says amusedly. “It attempts to seem not there, but it’s actually very present.”

Herfeldt's goal isn't work to make you feel comfortable or beauty. Rather, her intention is to evoke unease, odd, maybe even amused. But if you start to feel something wet dripping overhead as well, don’t say the alert was given.