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When considering restroom upgrades, you may want not to choose employing the sculptor for such tasks.

Truly, Herfeldt is highly skilled with a silicone gun, crafting compelling sculptures from this unlikely art material. But as you examine these pieces, the clearer it becomes apparent a certain aspect seems somewhat off.

The thick tubes of sealant she produces reach past their supports supporting them, hanging downwards towards the floor. Those twisted tubular forms expand till they rupture. Certain pieces break free from the display cases fully, becoming an attractor of debris and fibers. One could imagine the ratings are unlikely to earn positive.

There are moments I feel an impression that things possess life inside an area,” remarks Herfeldt. Hence I started using this substance as it offers such an organic feel and appearance.”

In fact one can detect rather body horror in these sculptures, including the phallic bulge that protrudes, similar to a rupture, from the support in the centre of the gallery, to the intestinal coils from the material that rupture like medical emergencies. Along a surface, Herfeldt has framed prints depicting the sculptures viewed from different angles: resembling wormy parasites picked up on a microscope, or growths on culture plates.

“It interests me is how certain elements within us happening that seem to hold independent existence,” Herfeldt explains. Phenomena you can’t see or control.”

Regarding unmanageable factors, the poster promoting the event displays an image of water damage overhead at her creative space in the German capital. The building had been erected decades ago and, she says, faced immediate dislike from residents because a lot of historic structures were torn down in order to make way for it. It was already dilapidated as the artist – who was born in Munich yet raised in northern Germany prior to moving to the capital as a teenager – began using the space.

The rundown building proved challenging to Herfeldt – placing artworks was difficult the sculptures without fearing potential harm – but it was also compelling. Lacking architectural drawings available, no one knew methods to address any of the issues that arose. When the ceiling panel at the artist's area got thoroughly soaked it collapsed entirely, the single remedy meant swapping the damaged part – thus repeating the process.

Elsewhere on the property, she describes the water intrusion was severe so multiple collection units got placed above the false roof to channel the moisture elsewhere.

I understood that the structure acted as a physical form, an entirely malfunctioning system,” the artist comments.

This scenario brought to mind Dark Star, the director's first 1974 film featuring a smart spaceship that develops independence. Additionally, observers may note given the naming – Alice, Laurie & Ripley – that’s not the only film shaping the artist's presentation. These titles indicate the female protagonists from a horror classic, the iconic thriller and Alien as listed. She mentions a critical analysis from a scholar, outlining these surviving characters an original movie concept – women left alone to save the day.

“She’s a bit tomboyish, rather quiet and they endure due to intelligence,” she elaborates about such characters. “They don’t take drugs nor sexual activity. And it doesn’t matter who is watching, all empathize with the final girl.”

She draws a similarity linking these figures to her artworks – objects which only maintaining position under strain affecting them. Is the exhibition more about societal collapse than just water damage? As with many structures, substances like silicone intended to secure and shield from deterioration are actually slowly eroding within society.

“Oh, totally,” she confirms.

Prior to discovering her medium with sealant applicators, Herfeldt used alternative odd mediums. Previous exhibitions included tongue-like shapes crafted from fabric similar to you might see on a sleeping bag or inside a jacket. Similarly, one finds the feeling such unusual creations might animate – a few are compressed as insects in motion, others lollop down on vertical planes or extend through entries gathering grime from contact (The artist invites audiences to interact and dirty her art). Similar to the foam artworks, these nylon creations are also housed in – and breaking out of – cheap looking acrylic glass boxes. They’re ugly looking things, and really that’s the point.

“These works possess a particular style which makes one highly drawn to, and at the same time appearing gross,” she says amusedly. “It attempts to seem not there, yet in reality highly noticeable.”

Herfeldt is not making art to provide ease or beauty. Conversely, she aims for unease, strange, perhaps entertained. However, should you notice water droplets overhead additionally, don’t say the alert was given.