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When considering washroom remodeling, you may want to avoid hiring this German artist for such tasks.

Indeed, she's an expert in handling foam materials, producing intriguing artworks from this unlikely medium. However as you observe her creations, the stronger you realise that an element is a little off.

The thick lengths made of silicone she crafts stretch beyond display surfaces on which they sit, drooping over the sides to the ground. Those twisted tubular forms swell till they rupture. Certain pieces leave the display cases entirely, becoming a magnet of debris and fibers. One could imagine the feedback are unlikely to earn pretty.

There are moments I feel an impression that objects seem animated in a room,” says the sculptor. This is why I turned to silicone sealant because it has this very bodily feel and appearance.”

Indeed there’s something almost visceral about the artist's creations, from the phallic bulge that protrudes, similar to a rupture, from the support within the showspace, and the winding tubes from the material which split open resembling bodily failures. On one wall, are mounted photocopies showing the pieces viewed from different angles: they look like squirming organisms picked up on a microscope, or formations on culture plates.

I am fascinated by that there are things within us happening that also have independent existence,” the artist notes. Phenomena that are invisible or manage.”

On the subject of unmanageable factors, the promotional image for the show features a picture of the leaky ceiling at her creative space in the German capital. Constructed built in the early 1970s as she explains, faced immediate dislike among the community as numerous older edifices were removed to allow its construction. The place was run-down upon her – originally from Munich although she spent her youth in northern Germany prior to moving to the capital as a teenager – moved in.

The rundown building was frustrating to Herfeldt – placing artworks was difficult her art works without concern they might be damaged – however, it was intriguing. With no building plans on hand, it was unclear how to repair the problems that arose. Once an overhead section at the artist's area became so sodden it gave way completely, the sole fix was to replace the damaged part – perpetuating the issue.

At another site, she describes dripping was extreme that several drainage containers were set up above the false roof to divert the moisture elsewhere.

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

The situation evoked memories of a classic film, John Carpenter’s debut cinematic piece about an AI-powered spacecraft which becomes autonomous. As the exhibition's title suggests through the heading – a trio of references – more movies have inspired impacting Herfeldt’s show. Those labels refer to the leading women from a horror classic, Halloween and Alien as listed. The artist references a critical analysis by the American professor, outlining the last women standing an original movie concept – female characters isolated to save the day.

They often display toughness, reserved in nature and they endure due to intelligence,” says Herfeldt of the archetypal final girl. “They don’t take drugs nor sexual activity. Regardless who is watching, everyone can relate to the survivor.”

Herfeldt sees a parallel linking these figures with her creations – elements that barely holding in place amidst stress affecting them. Does this mean the art really concerning societal collapse rather than simply leaky ceilings? As with many structures, these materials meant to insulate and guard against harm are gradually failing around us.

“Absolutely,” says Herfeldt.

Before finding inspiration in the silicone gun, Herfeldt used alternative odd mediums. Recent shows have involved tongue-like shapes made from fabric similar to typical for within outdoor gear or in coats. Again there is the feeling these strange items might animate – a few are compressed as insects in motion, others lollop down off surfaces or extend through entries attracting dirt from footprints (The artist invites audiences to interact and dirty her art). Similar to the foam artworks, those fabric pieces also occupy – and breaking out of – cheap looking transparent cases. They’re ugly looking things, and that's the essence.

“They have a particular style that draws viewers highly drawn to, yet simultaneously appearing gross,” she says with a smile. “The art aims for not there, but it’s actually highly noticeable.”

Herfeldt is not making work to make you feel ease or aesthetically soothed. Rather, she aims for uncomfortable, awkward, maybe even amused. However, should you notice water droplets on your head too, remember the alert was given.