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When considering bathroom renovations, it might be wise to avoid employing the sculptor for such tasks.

Truly, Herfeldt is a whiz in handling foam materials, producing intriguing sculptures with a surprising art material. However the more observe her creations, the clearer you realise that something seems somewhat off.

Those hefty tubes from the foam she crafts stretch over display surfaces on which they sit, drooping over the sides towards the floor. Those twisted silicone strands bulge till they rupture. Certain pieces escape their acrylic glass box homes fully, becoming a collector for grime and particles. It's safe to say the feedback might not get favorable.

There are moments I feel the feeling that things seem animated in a room,” states the German artist. “That’s why I turned to this substance because it has such an organic texture and feeling.”

Indeed there is an element almost visceral about these sculptures, starting with the suggestive swelling jutting out, like a medical condition, from the support in the centre of the gallery, and the winding tubes of foam that rupture like medical emergencies. On one wall, the artist presents images of the works seen from various perspectives: appearing as wormy parasites observed under magnification, or growths on culture plates.

I am fascinated by is the idea inside human forms occurring which possess independent existence,” Herfeldt explains. “Things you can’t see or control.”

Talking of elements beyond her influence, the poster promoting the event includes a picture of water damage overhead within her workspace in the German capital. Constructed erected decades ago as she explains, was quickly despised from residents as numerous older edifices got demolished to allow its construction. By the time in a state of disrepair when Herfeldt – originally from Munich but grew up in northern Germany then relocating to Berlin as a teenager – took up residence.

This decrepit property was frustrating to Herfeldt – she couldn’t hang the sculptures anxiously risk of ruin – however, it was compelling. Without any blueprints on hand, no one knew how to repair the problems that developed. When the ceiling panel in Herfeldt’s studio got thoroughly soaked it gave way completely, the sole fix meant swapping the damaged part – perpetuating the issue.

In a different area, the artist explains dripping was extreme that a series of collection units got placed above the false roof to divert the water to a different sink.

I understood that the structure acted as a physical form, a completely flawed entity,” she says.

This scenario reminded her of the sci-fi movie, the initial work cinematic piece featuring a smart spaceship which becomes autonomous. Additionally, observers may note given the naming – three distinct names – more movies have inspired shaping this exhibition. Those labels point to main characters in the slasher film, the iconic thriller plus the sci-fi hit as listed. The artist references a critical analysis written by Carol J Clover, that describes these “final girls” as a unique film trope – women left alone to save the day.

They often display toughness, on the silent side and she can survive due to intelligence,” she elaborates of the archetypal final girl. They avoid substances nor sexual activity. Regardless the viewer’s gender, all empathize with the survivor.”

She draws a connection from these protagonists and her sculptures – objects which only holding in place under strain they’re under. Is the exhibition more about societal collapse beyond merely leaky ceilings? Similar to various systems, these materials that should seal and protect against harm are actually slowly eroding within society.

“Absolutely,” she confirms.

Earlier in her career with sealant applicators, the artist worked with other unusual materials. Previous exhibitions featured forms resembling tongues using fabric similar to found in in insulated clothing or inside a jacket. Again there is the impression these strange items could come alive – some are concertinaed like caterpillars mid-crawl, pieces hang loosely on vertical planes blocking passages attracting dirt from footprints (She prompts audiences to interact and soil the works). As with earlier creations, these nylon creations are also housed in – and escaping from – cheap looking display enclosures. The pieces are deliberately unappealing, which is intentional.

“The sculptures exhibit a certain aesthetic that draws viewers highly drawn to, while also appearing gross,” Herfeldt remarks grinning. “It attempts to seem absent, yet in reality highly noticeable.”

Herfeldt is not making art to provide comfortable or visual calm. Rather, her intention is to evoke discomfort, strange, maybe even amused. However, should you notice water droplets from above as well, don’t say the alert was given.