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Should you be thinking about restroom upgrades, you may want to steer clear of hiring the sculptor to handle it.

Truly, Herfeldt is highly skilled with a silicone gun, crafting intriguing artworks out of an unusual medium. However the more examine her creations, the more one notices a certain aspect seems somewhat strange.

The dense tubes of sealant Herfeldt forms stretch over display surfaces where they rest, hanging downwards below. The gnarled foam pipes swell before bursting open. Some creations break free from their acrylic glass box homes completely, becoming a magnet for grime and particles. It's safe to say the feedback are unlikely to earn positive.

“I sometimes have an impression that objects are alive inside an area,” remarks Herfeldt. This is why I came to use this substance because it has a distinctly physical sensation and look.”

In fact there’s something rather body horror regarding the artist's creations, starting with the suggestive swelling jutting out, hernia-like, from the support in the centre of the gallery, or the gut-like spirals of foam that rupture like medical emergencies. On one wall, are mounted prints showing the pieces viewed from different angles: appearing as microscopic invaders seen in scientific samples, or formations in a lab setting.

What captivates me is the idea in our bodies happening that also have a life of their own,” Herfeldt explains. Phenomena you can’t see or manage.”

On the subject of unmanageable factors, the exhibition advertisement for the show features a picture of water damage overhead at her creative space located in Berlin. It was erected decades ago and, she says, was instantly hated from residents as numerous historic structures got demolished in order to make way for it. It was already dilapidated as the artist – who was born in Munich but grew up near Hamburg prior to moving to the capital during her teens – began using the space.

This decrepit property proved challenging to Herfeldt – it was risky to display her art works anxiously potential harm – but it was also compelling. With no building plans available, no one knew methods to address any of the issues which occurred. When the ceiling panel within her workspace became so sodden it fell apart fully, the sole fix involved installing the panel with a new one – thus repeating the process.

Elsewhere on the property, she describes the water intrusion was severe so multiple collection units were set up above the false roof to channel the moisture elsewhere.

“I realised that the building acted as a physical form, an entirely malfunctioning system,” she says.

These conditions evoked memories of Dark Star, John Carpenter’s debut 1974 film about an AI-powered spacecraft that develops independence. As the exhibition's title suggests from the show’s title – a trio of references – more movies have inspired impacting Herfeldt’s show. Those labels point to main characters in Friday 13th, Halloween plus the sci-fi hit respectively. She mentions a critical analysis written by Carol J Clover, which identifies the last women standing an original movie concept – protagonists by themselves to overcome.

These figures are somewhat masculine, on the silent side and she can survive because she’s quite clever,” she elaborates about such characters. They avoid substances or engage intimately. And it doesn’t matter the audience's identity, everyone can relate to the final girl.”

She draws a connection between these characters with her creations – elements that barely holding in place amidst stress they face. Does this mean the art focused on cultural decay rather than simply water damage? Because like so many institutions, such components meant to insulate and guard us from damage are gradually failing around us.

“Absolutely,” responds the artist.

Before finding inspiration with sealant applicators, the artist worked with different unconventional substances. Previous exhibitions included forms resembling tongues made from a synthetic material you might see on a sleeping bag or inside a jacket. Similarly, one finds the impression such unusual creations could come alive – certain pieces are folded like caterpillars mid-crawl, pieces hang loosely from walls or spill across doorways collecting debris from touch (Herfeldt encourages people to handle and soil the works). Like the silicone sculptures, those fabric pieces are also housed in – and escaping from – inexpensive-seeming display enclosures. They’re ugly looking things, which is intentional.

“They have a certain aesthetic which makes one highly drawn to, yet simultaneously appearing gross,” the artist comments grinning. “The art aims for absent, but it’s actually very present.”

The artist does not create work to make you feel comfortable or beauty. Conversely, she aims for uncomfortable, awkward, perhaps entertained. And if there's a moist sensation on your head as well, remember the alert was given.