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Should you be thinking about restroom upgrades, it's advisable not to choose hiring this German artist for such tasks.

Truly, she's a whiz with a silicone gun, crafting intriguing artworks from this unlikely substance. But the more look at her creations, the clearer one notices that an element is a little unnerving.

The dense strands made of silicone Herfeldt forms extend over display surfaces on which they sit, sagging off the edges to the ground. The gnarled foam pipes bulge before bursting open. Certain pieces break free from their acrylic glass box homes fully, evolving into a collector for grime and particles. It's safe to say the ratings are unlikely to earn pretty.

“I sometimes have an impression that items possess life inside an area,” states the sculptor. “That’s why I started using this substance due to its such an organic feel and appearance.”

Indeed one can detect rather body horror about these sculptures, including that protruding shape that protrudes, hernia-like, from the support in the centre of the gallery, or the gut-like spirals of foam that burst like medical emergencies. Along a surface, are mounted images showing the pieces captured in multiple views: appearing as microscopic invaders observed under magnification, or colonies in a lab setting.

“It interests me is how certain elements in our bodies happening which possess a life of their own,” the artist notes. Elements that are invisible or control.”

Regarding things she can’t control, the promotional image featured in the exhibition features a photograph of water damage overhead in her own studio located in Berlin. It was built in the early 1970s and according to her, was quickly despised by local people as numerous older edifices were torn down to allow its construction. The place was dilapidated upon her – who was born in Munich yet raised north of Hamburg before arriving in Berlin as a teenager – began using the space.

This decrepit property was frustrating to Herfeldt – it was risky to display the sculptures without concern potential harm – however, it was fascinating. With no building plans accessible, nobody had a clue methods to address the malfunctions that developed. After a part of the roof in Herfeldt’s studio became so sodden it collapsed entirely, the sole fix meant swapping it with another – thus repeating the process.

In a different area, she describes the water intrusion was severe so multiple collection units were set up within the drop ceiling to channel leaks to another outlet.

“I realised that the building resembled an organism, an entirely malfunctioning system,” she says.

These conditions reminded her of Dark Star, the initial work cinematic piece concerning a conscious ship that takes on a life of its own. Additionally, observers may note from the show’s title – Alice, Laurie & Ripley – that’s not the only film impacting the artist's presentation. The three names point to the female protagonists from a horror classic, the iconic thriller and Alien in that order. She mentions an academic paper by the American professor, which identifies these surviving characters an original movie concept – female characters isolated to triumph.

“She’s a bit tomboyish, rather quiet and they endure due to intelligence,” says Herfeldt of the archetypal final girl. No drug use occurs or have sex. Regardless who is watching, everyone can relate to the final girl.”

She draws a parallel between these characters to her artworks – things that are just about staying put amidst stress they face. Does this mean the art really concerning social breakdown rather than simply water damage? As with many structures, substances like silicone intended to secure and shield against harm are actually slowly eroding within society.

“Oh, totally,” responds the artist.

Before finding inspiration using foam materials, the artist worked with other unusual materials. Recent shows have involved forms resembling tongues using the kind of nylon fabric typical for in insulated clothing or in coats. Similarly, one finds the impression such unusual creations could come alive – some are concertinaed as insects in motion, some droop heavily on vertical planes or extend through entries attracting dirt from footprints (The artist invites audiences to interact and soil the works). As with earlier creations, the textile works are similarly displayed in – and escaping from – inexpensive-seeming acrylic glass boxes. The pieces are deliberately unappealing, and really that’s the point.

“They have a certain aesthetic that draws viewers compelled by, yet simultaneously being quite repulsive,” Herfeldt remarks with a smile. “It attempts to seem invisible, but it’s actually very present.”

Herfeldt's goal isn't art to provide relaxation or visual calm. Rather, she aims for unease, awkward, or even humor. But if you start to feel something wet dripping on your head additionally, consider yourself you haven’t been warned.