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Should you be thinking about restroom upgrades, you may want to steer clear of engaging this German artist for such tasks.

Indeed, Herfeldt is an expert in handling foam materials, creating compelling creations out of an unusual medium. Yet the more examine the artworks, the more you realise a certain aspect seems somewhat off.

The dense strands from the foam she produces reach beyond display surfaces supporting them, hanging off the edges below. Those twisted foam pipes bulge before bursting open. Some creations escape their acrylic glass box homes fully, evolving into an attractor for dust and hair. One could imagine the reviews might not get positive.

There are moments I feel an impression that things possess life within a space,” says Herfeldt. This is why I came to use silicone sealant because it has a distinctly physical texture and feeling.”

Indeed there’s something rather body horror about Herfeldt’s work, from the phallic bulge jutting out, like a medical condition, off its base within the showspace, and the winding tubes of foam which split open as if in crisis. On one wall, are mounted photocopies showing the pieces seen from various perspectives: they look like squirming organisms picked up on a microscope, or growths in a lab setting.

I am fascinated by is how certain elements inside human forms taking place that seem to hold a life of their own,” she says. Elements which remain unseen or command.”

Regarding things she can’t control, the promotional image for the show displays a picture of water damage overhead at her creative space in the German capital. It was erected decades ago and, she says, was instantly hated from residents as numerous old buildings got demolished for its development. By the time dilapidated as the artist – who was born in Munich but grew up in northern Germany before arriving in Berlin in her youth – took up residence.

The rundown building caused issues to Herfeldt – placing artworks was difficult her pieces without concern risk of ruin – but it was also intriguing. Without any blueprints on hand, nobody had a clue how to repair the malfunctions which occurred. Once an overhead section at the artist's area was saturated enough it gave way completely, the only solution was to replace it with another – thus repeating the process.

In a different area, the artist explains the water intrusion was severe so multiple drainage containers got placed within the drop ceiling to channel leaks to another outlet.

“I realised that this place was like a body, an entirely malfunctioning system,” she says.

These conditions evoked memories of a classic film, the director's first 1974 film concerning a conscious ship that takes on a life of its own. And as you might notice from the show’s title – three distinct names – that’s not the only film impacting this exhibition. These titles point to the female protagonists in the slasher film, Halloween and Alien as listed. The artist references a critical analysis from a scholar, that describes the last women standing an original movie concept – protagonists by themselves to overcome.

These figures are somewhat masculine, reserved in nature and they endure thanks to resourcefulness,” says Herfeldt of the archetypal final girl. They avoid substances or engage intimately. It is irrelevant the viewer’s gender, all empathize with this character.”

Herfeldt sees a connection linking these figures and her sculptures – things that are just about holding in place despite the pressures they’re under. Does this mean the art more about societal collapse than just leaky ceilings? Similar to various systems, such components that should seal and protect against harm in fact are decaying in our environment.

“Absolutely,” responds the artist.

Earlier in her career using foam materials, the artist worked with other unusual materials. Past displays featured tongue-like shapes made from the kind of nylon fabric typical for on a sleeping bag or in coats. Similarly, one finds the sense these peculiar objects could come alive – a few are compressed as insects in motion, others lollop down off surfaces or spill across doorways collecting debris from touch (The artist invites audiences to interact and dirty her art). Similar to the foam artworks, the textile works are also housed in – leaving – inexpensive-seeming transparent cases. The pieces are deliberately unappealing, and really that’s the point.

“The sculptures exhibit a particular style which makes one compelled by, while also appearing gross,” the artist comments amusedly. “It attempts to seem invisible, yet in reality extremely obvious.”

Herfeldt's goal isn't work to make you feel comfortable or aesthetically soothed. Conversely, she aims for discomfort, odd, or even humor. However, should you notice something wet dripping from above too, consider yourself you haven’t been warned.