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When considering washroom remodeling, it's advisable to avoid engaging the sculptor for such tasks.

Truly, Herfeldt is a whiz with a silicone gun, producing compelling artworks out of an unusual medium. But as you look at her creations, the more one notices that something feels slightly unnerving.

Those hefty lengths made of silicone she crafts extend over display surfaces on which they sit, drooping downwards below. The knotty foam pipes swell till they rupture. Some creations break free from their transparent enclosures completely, evolving into a magnet of debris and fibers. Let's just say the ratings are unlikely to earn positive.

There are moments I feel an impression that objects are alive inside an area,” says Herfeldt. This is why I turned to this foam material due to its such an organic feel and appearance.”

Certainly there is an element somewhat grotesque regarding Herfeldt’s work, from the suggestive swelling that protrudes, similar to a rupture, from its cylindrical stand within the showspace, and the winding tubes of foam that burst as if in crisis. Displayed nearby, the artist presents photocopies of the works seen from various perspectives: appearing as microscopic invaders seen in scientific samples, or growths in a lab setting.

What captivates me is how certain elements in our bodies happening that seem to hold a life of their own,” the artist notes. Elements which remain unseen or manage.”

Regarding things she can’t control, the exhibition advertisement featured in the exhibition features a photograph showing a dripping roof within her workspace in Kreuzberg, Berlin. Constructed built in the early 1970s and according to her, was instantly hated among the community as numerous historic structures were removed in order to make way for it. By the time in a state of disrepair as the artist – a native of that city although she spent her youth north of Hamburg then relocating to Berlin as a teenager – moved in.

This decrepit property was frustrating for the artist – placing artworks was difficult her pieces without concern they might be damaged – however, it was fascinating. With no building plans accessible, no one knew how to repair any of the issues which occurred. After a part of the roof at the artist's area got thoroughly soaked it collapsed entirely, the single remedy was to replace it with another – thus repeating the process.

Elsewhere on the property, Herfeldt says the leaking was so bad so multiple collection units were installed above the false roof to divert leaks to another outlet.

“I realised that this place resembled an organism, a completely flawed entity,” the artist comments.

These conditions brought to mind Dark Star, the initial work 1974 film featuring a smart spaceship which becomes autonomous. As the exhibition's title suggests given the naming – three distinct names – more movies have inspired to have influenced this exhibition. These titles indicate main characters in Friday 13th, the iconic thriller plus the sci-fi hit as listed. She mentions an academic paper from a scholar, outlining these “final girls” a distinctive cinematic theme – women left alone to save the day.

They often display toughness, on the silent side enabling their survival due to intelligence,” she elaborates of the archetypal final girl. No drug use occurs or engage intimately. It is irrelevant who is watching, we can all identify with this character.”

She draws a parallel linking these figures to her artworks – things that are just about holding in place amidst stress affecting them. Is the exhibition more about cultural decay rather than simply leaky ceilings? Because like so many institutions, substances like silicone intended to secure and shield against harm in fact are decaying within society.

“Oh, totally,” says Herfeldt.

Before finding inspiration using foam materials, Herfeldt used alternative odd mediums. Recent shows included organic-looking pieces using a synthetic material typical for in insulated clothing or in coats. Once more, there's the impression these peculiar objects could come alive – a few are compressed like caterpillars mid-crawl, others lollop down off surfaces or extend through entries collecting debris from touch (The artist invites viewers to touch and dirty her art). As with earlier creations, these nylon creations also occupy – leaving – cheap looking transparent cases. These are unattractive objects, which is intentional.

“The sculptures exhibit a particular style that draws viewers highly drawn to, yet simultaneously appearing gross,” the artist comments amusedly. “The art aims for invisible, however, it is extremely obvious.”

The artist does not create work to make you feel comfortable or beauty. Conversely, she wants you to feel unease, awkward, maybe even amused. But if you start to feel something wet dripping overhead as well, don’t say this was foreshadowed.