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

Truly, she's an expert with a silicone gun, crafting intriguing artworks with a surprising medium. Yet the more look at the artworks, the stronger one notices a certain aspect seems somewhat unnerving.

Those hefty strands made of silicone Herfeldt forms reach past display surfaces supporting them, drooping downwards to the ground. Those twisted silicone strands swell before bursting open. Certain pieces leave their transparent enclosures completely, turning into a collector for dust and hair. One could imagine the reviews are unlikely to earn pretty.

“I sometimes have this sense that items possess life in a room,” states the German artist. Hence I came to use this substance due to its a distinctly physical sensation and look.”

In fact one can detect somewhat grotesque regarding the artist's creations, starting with that protruding shape which extends, similar to a rupture, off its base in the centre of the gallery, or the gut-like spirals made of silicone that burst like medical emergencies. Along a surface, Herfeldt has framed photocopies showing the pieces viewed from different angles: resembling microscopic invaders picked up on a microscope, or growths on culture plates.

“It interests me is how certain elements within us happening that also have independent existence,” Herfeldt explains. Elements you can’t see or manage.”

On the subject of elements beyond her influence, the promotional image featured in the exhibition displays a photograph showing a dripping roof in her own studio in Kreuzberg, Berlin. It was built in the early 1970s as she explains, was quickly despised among the community as numerous older edifices got demolished to allow its construction. It was already dilapidated when Herfeldt – who was born in Munich although she spent her youth north of Hamburg then relocating to Berlin during her teens – moved in.

This decrepit property proved challenging for her work – she couldn’t hang her art works anxiously risk of ruin – yet it also proved intriguing. Lacking architectural drawings accessible, it was unclear the way to fix any of the issues that developed. When the ceiling panel within her workspace got thoroughly soaked it fell apart fully, the only solution meant swapping the panel with a new one – thus repeating the process.

Elsewhere on the property, she describes dripping was extreme so multiple collection units were installed within the drop ceiling in order to redirect leaks to another outlet.

It dawned on me that this place was like a body, a completely flawed entity,” she says.

This scenario reminded her of a classic film, the initial work 1974 film about an AI-powered spacecraft that takes on a life of its own. Additionally, observers may note given the naming – Alice, Laurie & Ripley – more movies have inspired to have influenced Herfeldt’s show. These titles indicate the leading women in Friday 13th, the iconic thriller plus the sci-fi hit as listed. Herfeldt cites an academic paper by the American professor, outlining these surviving characters a distinctive cinematic theme – female characters isolated to triumph.

They often display toughness, reserved in nature enabling their survival because she’s quite clever,” she elaborates about such characters. No drug use occurs or have sex. And it doesn’t matter who is watching, we can all identify with the final girl.”

Herfeldt sees a parallel from these protagonists and her sculptures – things that are just about holding in place amidst stress affecting them. So is her work really concerning social breakdown than just leaky ceilings? As with many structures, substances like silicone that should seal and protect from deterioration are gradually failing around us.

“Oh, totally,” responds the artist.

Before finding inspiration with sealant applicators, Herfeldt used different unconventional substances. Previous exhibitions have involved organic-looking pieces crafted from a synthetic material typical for in insulated clothing or apparel lining. Similarly, one finds the impression these peculiar objects seem lifelike – certain pieces are folded as insects in motion, pieces hang loosely off surfaces or spill across doorways collecting debris from touch (Herfeldt encourages viewers to touch and soil the works). Like the silicone sculptures, the textile works also occupy – and breaking out of – cheap looking acrylic glass boxes. They’re ugly looking things, which is intentional.

“The sculptures exhibit a particular style that draws viewers highly drawn to, while also they’re very disgusting,” Herfeldt remarks amusedly. “The art aims for absent, but it’s actually highly noticeable.”

Herfeldt is not making pieces that offer ease or beauty. Rather, she wants you to feel uncomfortable, odd, perhaps entertained. And if there's something wet dripping on your head too, consider yourself the alert was given.