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When considering restroom upgrades, you may want to steer clear of hiring the sculptor to handle it.

Indeed, she's a whiz in handling foam materials, crafting intriguing artworks out of an unusual medium. However longer you look at her creations, the more one notices that something is a little strange.

The dense tubes from the foam she crafts extend beyond their supports supporting them, sagging over the sides towards the floor. The knotty foam pipes expand before bursting open. Certain pieces break free from the display cases completely, becoming a magnet for grime and particles. Let's just say the reviews are unlikely to earn positive.

At times I get the feeling that objects seem animated inside an area,” remarks Herfeldt. This is why I started using silicone sealant due to its a distinctly physical feel and appearance.”

Indeed there’s something rather body horror regarding Herfeldt’s work, starting with the suggestive swelling which extends, hernia-like, from the support at the exhibition's heart, or the gut-like spirals from the material that burst as if in crisis. Displayed nearby, the artist presents prints depicting the sculptures viewed from different angles: resembling squirming organisms observed under magnification, or formations on a petri-dish.

“It interests me is the idea inside human forms happening that seem to hold their own life,” the artist notes. “Things which remain unseen or manage.”

Regarding elements beyond her influence, the promotional image promoting the event displays a picture showing a dripping roof at her creative space in the German capital. Constructed made in the seventies as she explains, was instantly hated from residents since many historic structures got demolished in order to make way for it. By the time in a state of disrepair upon her – originally from Munich yet raised near Hamburg then relocating to Berlin in her youth – began using the space.

This deteriorating space proved challenging for her work – she couldn’t hang her art works anxiously risk of ruin – but it was also compelling. With no building plans on hand, nobody had a clue methods to address the malfunctions that developed. Once an overhead section at the artist's area was saturated enough it collapsed entirely, the only solution was to replace it with another – thus repeating the process.

At another site, Herfeldt says the water intrusion was severe so multiple shower basins were installed above the false roof to channel the water to a different sink.

It dawned on me that the structure acted as a physical form, a totally dysfunctional body,” the artist comments.

These conditions reminded her of the sci-fi movie, the director's first movie from the seventies featuring a smart spaceship which becomes autonomous. As the exhibition's title suggests given the naming – Alice, Laurie & Ripley – other cinematic works influenced shaping this exhibition. These titles refer to the female protagonists in the slasher film, Halloween and the extraterrestrial saga respectively. She mentions a 1987 essay written by Carol J Clover, that describes these “final girls” a distinctive cinematic theme – female characters isolated to save the day.

They often display toughness, on the silent side and she can survive thanks to resourcefulness,” the artist explains of the archetypal final girl. They avoid substances or have sex. And it doesn’t matter the audience's identity, everyone can relate to the survivor.”

Herfeldt sees a connection from these protagonists with her creations – elements that barely holding in place amidst stress they’re under. Is the exhibition really concerning societal collapse than just leaky ceilings? Because like so many institutions, these materials that should seal and protect from deterioration in fact are decaying in our environment.

“Oh, totally,” she confirms.

Prior to discovering her medium in the silicone gun, the artist worked with different unconventional substances. Past displays have involved tongue-like shapes made from the kind of nylon fabric typical for within outdoor gear or in coats. Similarly, one finds the sense such unusual creations might animate – some are concertinaed as insects in motion, others lollop down off surfaces blocking passages collecting debris from touch (She prompts audiences to interact and soil the works). Similar to the foam artworks, the textile works are similarly displayed in – and breaking out of – inexpensive-seeming acrylic glass boxes. They’re ugly looking things, which is intentional.

“They have a particular style that draws viewers highly drawn to, while also they’re very disgusting,” she says amusedly. “The art aims for not there, however, it is extremely obvious.”

The artist does not create art to provide comfortable or aesthetically soothed. Conversely, she wants you to feel unease, odd, maybe even amused. And if there's water droplets overhead additionally, consider yourself this was foreshadowed.