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When considering washroom remodeling, you may want to steer clear of engaging the sculptor for such tasks.

Certainly, Herfeldt is highly skilled with a silicone gun, crafting fascinating artworks out of an unusual medium. Yet longer you examine the artworks, the clearer it becomes apparent a certain aspect feels slightly strange.

The dense lengths of sealant she crafts stretch over display surfaces on which they sit, sagging over the sides below. The knotty silicone strands expand till they rupture. A few artworks leave their transparent enclosures completely, becoming a collector of debris and fibers. Let's just say the reviews would not be favorable.

At times I get the feeling that items are alive in a room,” states the German artist. Hence I came to use this substance because it has such an organic sensation and look.”

In fact one can detect somewhat grotesque regarding these sculptures, from that protruding shape jutting out, like a medical condition, from its cylindrical stand within the showspace, or the gut-like spirals from the material that burst like medical emergencies. Displayed nearby, are mounted images depicting the sculptures captured in multiple views: resembling wormy parasites seen in scientific samples, or colonies in a lab setting.

“It interests me is the idea inside human forms happening that seem to hold independent existence,” she says. Elements which remain unseen or control.”

On the subject of elements beyond her influence, the poster featured in the exhibition features a picture of water damage overhead at her creative space in Kreuzberg, Berlin. The building had been erected decades ago and according to her, was quickly despised by local people since many old buildings got demolished in order to make way for it. It was already in a state of disrepair as the artist – who was born in Munich yet raised north of Hamburg prior to moving to the capital during her teens – took up residence.

The rundown building was frustrating for her work – placing artworks was difficult the sculptures without fearing potential harm – but it was also intriguing. Lacking architectural drawings available, no one knew how to repair the malfunctions that arose. When the ceiling panel at the artist's area was saturated enough it fell apart fully, the sole fix involved installing the damaged part – and so the cycle continued.

In a different area, Herfeldt says the leaking was so bad that several shower basins were set up in the suspended ceiling in order to redirect the water to a different sink.

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

The situation evoked memories of Dark Star, John Carpenter’s debut cinematic piece about an AI-powered spacecraft that takes on a life of its own. And as you might notice from the show’s title – Alice, Laurie & Ripley – that’s not the only film impacting this exhibition. The three names refer to main characters in Friday 13th, the iconic thriller plus the sci-fi hit respectively. The artist references a critical analysis from a scholar, that describes the last women standing as a unique film trope – female characters isolated to overcome.

These figures are somewhat masculine, on the silent side enabling their survival thanks to resourcefulness,” says Herfeldt regarding this trope. They avoid substances or have sex. Regardless the audience's identity, all empathize with the final girl.”

She draws a similarity linking these figures and her sculptures – elements that barely maintaining position under strain they’re under. Does this mean the art focused on societal collapse beyond merely dripping roofs? As with many structures, these materials intended to secure and shield from deterioration in fact are decaying within society.

“Oh, totally,” she confirms.

Prior to discovering her medium in the silicone gun, Herfeldt used different unconventional substances. Previous exhibitions included organic-looking pieces using the kind of nylon fabric typical for within outdoor gear or apparel lining. Similarly, one finds the impression such unusual creations could come alive – some are concertinaed as insects in motion, others lollop down on vertical planes or extend through entries collecting debris from touch (Herfeldt encourages audiences to interact and soil the works). As with earlier creations, those fabric pieces are also housed in – and escaping from – cheap looking display enclosures. They’re ugly looking things, and that's the essence.

“The sculptures exhibit a particular style that somehow you feel very attracted to, while also being quite repulsive,” she says with a smile. “It attempts to seem absent, yet in reality extremely obvious.”

Herfeldt is not making pieces that offer ease or beauty. Conversely, her intention is to evoke discomfort, strange, maybe even amused. However, should you notice a moist sensation overhead as well, remember you haven’t been warned.