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If you're planning bathroom renovations, you may want to avoid employing this German artist to handle it.

Indeed, Herfeldt is highly skilled in handling foam materials, creating fascinating artworks from this unlikely art material. But as you examine her creations, the stronger you realise a certain aspect seems somewhat unnerving.

Those hefty tubes from the foam she produces reach over display surfaces where they rest, hanging over the sides towards the floor. The gnarled silicone strands bulge till they rupture. Some creations escape their acrylic glass box homes completely, evolving into a magnet for dust and hair. It's safe to say the ratings are unlikely to earn favorable.

“I sometimes have this sense that objects seem animated inside an area,” remarks the German artist. This is why I came to use silicone sealant as it offers such an organic texture and feeling.”

Indeed there’s something almost visceral in Herfeldt’s work, including the phallic bulge that protrudes, like a medical condition, off its base within the showspace, to the intestinal coils from the material that burst resembling bodily failures. Displayed nearby, are mounted prints depicting the sculptures captured in multiple views: appearing as microscopic invaders picked up on a microscope, or formations on culture plates.

What captivates me is the idea in our bodies occurring which possess their own life,” the artist notes. “Things which remain unseen or command.”

Regarding unmanageable factors, the exhibition advertisement for the show includes an image of water damage overhead at her creative space in Kreuzberg, Berlin. The building had been erected decades ago as she explains, was quickly despised by local people since many older edifices got demolished to allow its construction. By the time run-down when Herfeldt – a native of that city yet raised north of Hamburg then relocating to Berlin during her teens – began using the space.

The rundown building caused issues to Herfeldt – she couldn’t hang her art works anxiously risk of ruin – however, it was intriguing. Lacking architectural drawings accessible, it was unclear methods to address the problems that developed. After a part of the roof within her workspace got thoroughly soaked it gave way completely, the only solution involved installing it with another – thus repeating the process.

At another site, she describes the water intrusion was severe that a series of drainage containers got placed in the suspended ceiling to divert the moisture elsewhere.

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

These conditions evoked memories of Dark Star, the initial work cinematic piece about an AI-powered spacecraft that develops independence. Additionally, observers may note from the show’s title – three distinct names – more movies have inspired impacting the artist's presentation. Those labels indicate the female protagonists in the slasher film, another scary movie plus the sci-fi hit in that order. The artist references a 1987 essay by the American professor, which identifies these “final girls” an original movie concept – women left alone to overcome.

These figures are somewhat masculine, rather quiet and they endure thanks to resourcefulness,” she elaborates about such characters. They avoid substances or engage intimately. And it doesn’t matter the audience's identity, everyone can relate to the survivor.”

The artist identifies a similarity between these characters with her creations – objects which only staying put under strain affecting them. So is her work more about societal collapse than just water damage? Because like so many institutions, such components intended to secure and shield us from damage are actually slowly eroding in our environment.

“Absolutely,” responds the artist.

Prior to discovering her medium in the silicone gun, she experimented with different unconventional substances. Past displays included forms resembling tongues made from a synthetic material typical for on a sleeping bag or apparel lining. Similarly, one finds the feeling these strange items could come alive – a few are compressed as insects in motion, others lollop down from walls or extend through entries gathering grime from contact (She prompts audiences to interact and dirty her art). Similar to the foam artworks, those fabric pieces are similarly displayed in – leaving – budget-style acrylic glass boxes. These are unattractive objects, which is intentional.

“The sculptures exhibit a specific look that draws viewers very attracted to, while also appearing gross,” she says grinning. “It tries to be not there, however, it is extremely obvious.”

Herfeldt's goal isn't work to make you feel relaxation or beauty. Rather, her intention is to evoke unease, awkward, or even humor. But if you start to feel a moist sensation on your head as well, consider yourself the alert was given.