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Should you be thinking about bathroom renovations, it's advisable not to choose employing this German artist for such tasks.

Certainly, Herfeldt is an expert with a silicone gun, crafting intriguing sculptures with a surprising substance. However longer you examine these pieces, the more you realise that something seems somewhat strange.

The thick lengths made of silicone Herfeldt forms stretch beyond their supports on which they sit, hanging off the edges towards the floor. Those twisted foam pipes swell before bursting open. Some creations escape their transparent enclosures entirely, evolving into a magnet of debris and fibers. It's safe to say the reviews might not get pretty.

At times I get this sense that things possess life within a space,” remarks the sculptor. Hence I started using silicone sealant because it has this very bodily feel and appearance.”

Certainly there is an element somewhat grotesque about Herfeldt’s work, from the phallic bulge that protrudes, hernia-like, from its cylindrical stand within the showspace, to the intestinal coils of foam that rupture like medical emergencies. Displayed nearby, the artist presents prints of the works captured in multiple views: resembling microscopic invaders observed under magnification, or growths on a petri-dish.

I am fascinated by that there are things in our bodies occurring that also have independent existence,” Herfeldt explains. Elements you can’t see or command.”

Regarding unmanageable factors, the poster promoting the event features an image of the leaky ceiling at her creative space in the German capital. The building had been erected decades ago as she explains, was instantly hated from residents because a lot of historic structures were torn down for its development. The place was run-down as the artist – a native of that city although she spent her youth north of Hamburg prior to moving to the capital during her teens – began using the space.

The rundown building proved challenging for her work – placing artworks was difficult her art works without fearing potential harm – yet it also proved compelling. Without any blueprints available, nobody had a clue how to repair the malfunctions that arose. Once an overhead section at the artist's area was saturated enough it collapsed entirely, the only solution meant swapping it with another – and so the cycle continued.

Elsewhere on the property, Herfeldt says the leaking was so bad so multiple shower basins were set up within the drop ceiling to channel the water to a different sink.

It dawned on me that the structure resembled an organism, a totally dysfunctional body,” she says.

This scenario evoked memories of Dark Star, the director's first movie from the seventies concerning a conscious ship that takes on a life of its own. Additionally, observers may note given the naming – a trio of references – other cinematic works influenced shaping Herfeldt’s show. These titles refer to main characters in Friday 13th, the iconic thriller plus the sci-fi hit as listed. She mentions a 1987 essay written by Carol J Clover, that describes these “final girls” as a unique film trope – women left alone to triumph.

“She’s a bit tomboyish, rather quiet and she can survive due to intelligence,” she elaborates about such characters. They avoid substances or have sex. It is irrelevant the viewer’s gender, everyone can relate to the survivor.”

Herfeldt sees a parallel from these protagonists to her artworks – elements that barely maintaining position under strain they face. Does this mean the art really concerning cultural decay rather than simply dripping roofs? As with many structures, substances like silicone intended to secure and shield from deterioration are actually slowly eroding in our environment.

“Absolutely,” responds the artist.

Before finding inspiration in the silicone gun, she experimented with other unusual materials. Previous exhibitions have involved forms resembling tongues crafted from the kind of nylon fabric found in in insulated clothing or in coats. Similarly, one finds the impression 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 viewers to touch leaving marks on pieces). Similar to the foam artworks, the textile works are also housed in – leaving – cheap looking display enclosures. These are unattractive objects, and really that’s the point.

“These works possess a particular style which makes one very attracted to, yet simultaneously they’re very disgusting,” she says with a smile. “It attempts to seem absent, however, it is very present.”

Herfeldt is not making art to provide comfortable or visual calm. Conversely, she aims for discomfort, odd, maybe even amused. However, should you notice something wet dripping overhead additionally, don’t say the alert was given.