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If you're planning restroom upgrades, it might be wise not to choose employing the sculptor for the job.

Truly, Herfeldt is an expert with a silicone gun, crafting compelling creations out of an unusual substance. Yet as you look at these pieces, the more you realise that something seems somewhat strange.

The dense lengths of sealant Herfeldt forms extend over display surfaces on which they sit, hanging off the edges towards the floor. The knotty tubular forms bulge before bursting open. Certain pieces leave their transparent enclosures completely, becoming a collector of debris and fibers. One could imagine the reviews are unlikely to earn positive.

“I sometimes have the feeling that things possess life inside an area,” states Herfeldt. “That’s why I came to use this substance due to its a distinctly physical feel and appearance.”

Certainly there is an element somewhat grotesque regarding the artist's creations, including the suggestive swelling jutting out, similar to a rupture, off its base within the showspace, and the winding tubes of foam that rupture as if in crisis. Along a surface, Herfeldt has framed images showing the pieces viewed from different angles: they look like wormy parasites observed under magnification, or colonies on a petri-dish.

What captivates me is the idea in our bodies taking place that seem to hold their own life,” she says. Elements which remain unseen or command.”

Regarding things she can’t control, the promotional image promoting the event includes a picture showing a dripping roof in her own studio in the German capital. It was made in the seventies and, she says, faced immediate dislike among the community since many historic structures were torn down for its development. The place was in a state of disrepair when Herfeldt – originally from Munich but grew up north of Hamburg prior to moving to the capital in her youth – began using the space.

The rundown building caused issues for her work – it was risky to display the sculptures without fearing potential harm – yet it also proved compelling. With no building plans on hand, no one knew the way to fix any of the issues that developed. When the ceiling panel at the artist's area got thoroughly soaked it fell apart fully, the single remedy was to replace it with another – perpetuating the issue.

At another site, Herfeldt says the leaking was so bad so multiple drainage containers were set up above the false roof to divert the moisture elsewhere.

I understood that the building resembled an organism, a totally dysfunctional body,” Herfeldt states.

This scenario brought to mind Dark Star, John Carpenter’s debut 1974 film featuring a smart spaceship which becomes autonomous. As the exhibition's title suggests through the heading – Alice, Laurie & Ripley – that’s not the only film shaping Herfeldt’s show. These titles refer to the female protagonists in Friday 13th, the iconic thriller and the extraterrestrial saga respectively. The artist references a 1987 essay written by Carol J Clover, which identifies these “final girls” an original movie concept – protagonists by themselves to overcome.

They often display toughness, on the silent side and they endure because she’s quite clever,” the artist explains of the archetypal final girl. They avoid substances nor sexual activity. And it doesn’t matter the viewer’s gender, everyone can relate to this character.”

The artist identifies a similarity between these characters and her sculptures – things that are just about staying put under strain they face. So is her work really concerning cultural decay beyond merely water damage? Similar to various systems, such components meant to insulate and guard us from damage in fact are decaying within society.

“Oh, totally,” says Herfeldt.

Before finding inspiration in the silicone gun, Herfeldt used different unconventional substances. Previous exhibitions have involved tongue-like shapes using a synthetic material typical for within outdoor gear or apparel lining. Once more, there's the impression these peculiar objects could come alive – a few are compressed like caterpillars mid-crawl, some droop heavily from walls blocking passages gathering grime from contact (She prompts people to handle leaving marks on pieces). Like the silicone sculptures, these nylon creations also occupy – and escaping from – cheap looking acrylic glass boxes. These are unattractive objects, and that's the essence.

“They have a specific look that draws viewers compelled by, while also appearing gross,” the artist comments grinning. “It tries to be invisible, however, it is very present.”

Herfeldt is not making art to provide relaxation or beauty. Instead, she wants you to feel uncomfortable, awkward, or even humor. However, should you notice water droplets from above additionally, consider yourself you haven’t been warned.