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If you're planning bathroom renovations, it's advisable to steer clear of hiring the sculptor for such tasks.

Truly, Herfeldt is highly skilled using sealant applicators, producing fascinating artworks from this unlikely art material. Yet longer you examine the artworks, the more you realise a certain aspect feels slightly strange.

The dense tubes of sealant she produces extend past the shelves supporting them, hanging over the sides to the ground. The knotty tubular forms expand until they split. Certain pieces break free from the display cases fully, turning into a magnet for grime and particles. It's safe to say the reviews would not be favorable.

There are moments I feel the feeling that objects seem animated within a space,” remarks the sculptor. “That’s why I started using silicone sealant due to its this very bodily feel and appearance.”

Certainly one can detect somewhat grotesque in the artist's creations, including the phallic bulge which extends, like a medical condition, from its cylindrical stand within the showspace, or the gut-like spirals made of silicone that burst resembling bodily failures. On one wall, the artist presents photocopies of the works viewed from different angles: resembling squirming organisms observed under magnification, or growths on culture plates.

“It interests me is how certain elements within us happening which possess independent existence,” the artist notes. Phenomena which remain unseen or manage.”

Regarding elements beyond her influence, the poster for the show includes 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 since many historic structures got demolished for its development. By the time dilapidated when Herfeldt – originally from Munich yet raised in northern Germany prior to moving to the capital during her teens – took up residence.

This deteriorating space was frustrating for her work – placing artworks was difficult her art works without concern potential harm – but it was also compelling. With no building plans on hand, it was unclear the way to fix any of the issues that developed. After a part of the roof in Herfeldt’s studio became so sodden it gave way completely, the only solution was to replace it with another – thus repeating the process.

At another site, the artist explains dripping was extreme that a series of collection units were installed within the drop ceiling to divert the moisture elsewhere.

I understood that the structure acted as a physical form, a totally dysfunctional body,” the artist comments.

The situation brought to mind Dark Star, John Carpenter’s debut cinematic piece concerning a conscious ship that takes on a life of its own. As the exhibition's title suggests from the show’s title – Alice, Laurie & Ripley – that’s not the only film to have influenced Herfeldt’s show. The three names indicate the leading women in Friday 13th, the iconic thriller and the extraterrestrial saga respectively. She mentions an academic paper written by Carol J Clover, that describes these “final girls” an original movie concept – female characters isolated to triumph.

They often display toughness, rather quiet and she can survive because she’s quite clever,” she elaborates of the archetypal final girl. No drug use occurs or engage intimately. And it doesn’t matter the viewer’s gender, we can all identify with this character.”

She draws a connection between these characters and her sculptures – things that are just about staying put amidst stress they face. Is the exhibition focused on social breakdown beyond merely leaky ceilings? As with many structures, substances like silicone meant to insulate and guard us from damage are gradually failing in our environment.

“Oh, totally,” says Herfeldt.

Prior to discovering her medium using foam materials, Herfeldt used different unconventional substances. Previous exhibitions featured organic-looking pieces made from a synthetic material found in in insulated clothing or inside a jacket. Again there is the feeling these strange items could come alive – certain pieces are folded resembling moving larvae, pieces hang loosely on vertical planes or spill across doorways attracting dirt from footprints (Herfeldt encourages viewers to touch and dirty her art). Similar to the foam artworks, the textile works are also housed in – leaving – inexpensive-seeming acrylic glass boxes. The pieces are deliberately unappealing, which is intentional.

“These works possess a certain aesthetic that draws viewers very attracted to, and at the same time being quite repulsive,” the artist comments amusedly. “It attempts to seem not there, but it’s actually very present.”

The artist does not create work to make you feel ease or beauty. Conversely, she aims for unease, awkward, maybe even amused. However, should you notice water droplets overhead too, consider yourself this was foreshadowed.