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When considering bathroom renovations, you may want not to choose hiring this German artist to handle it.

Certainly, she's an expert in handling foam materials, producing intriguing artworks out of an unusual art material. Yet as you observe the artworks, the stronger it becomes apparent a certain aspect seems somewhat off.

The dense tubes from the foam she produces extend over their supports where they rest, sagging over the sides below. The knotty silicone strands expand till they rupture. Certain pieces leave their acrylic glass box homes entirely, evolving into an attractor of debris and fibers. It's safe to say the feedback are unlikely to earn favorable.

There are moments I feel the feeling that objects possess life in a room,” says the sculptor. This is why I turned to this foam material as it offers such an organic sensation and look.”

In fact one can detect somewhat grotesque regarding these sculptures, starting with the suggestive swelling which extends, hernia-like, from its cylindrical stand within the showspace, and the winding tubes of foam which split open like medical emergencies. Along a surface, the artist presents images showing the pieces seen from various perspectives: resembling squirming organisms picked up on a microscope, or growths on culture plates.

“It interests me that there are things in our bodies happening that seem to hold independent existence,” the artist notes. Elements you can’t see or manage.”

Regarding things she can’t control, the poster for the show includes an image of water damage overhead at her creative space in the German capital. The building had been erected decades ago as she explains, was quickly despised from residents as numerous historic structures were removed to allow its construction. The place was in a state of disrepair upon her – a native of that city but grew up north of Hamburg prior to moving to the capital as a teenager – took up residence.

This decrepit property proved challenging for her work – it was risky to display the sculptures anxiously risk of ruin – however, it was intriguing. With no building plans on hand, no one knew methods to address the malfunctions that arose. When the ceiling panel in Herfeldt’s studio was saturated enough it collapsed entirely, the only solution involved installing it with another – and so the cycle continued.

In a different area, the artist explains the water intrusion was severe so multiple shower basins got placed above the false roof to channel leaks to another outlet.

“I realised that the structure resembled an organism, a totally dysfunctional body,” Herfeldt states.

This scenario evoked memories of a classic film, the director's first 1974 film featuring a smart spaceship which becomes autonomous. Additionally, observers may note given the naming – a trio of references – more movies have inspired to have influenced this exhibition. The three names refer to main characters in the slasher film, Halloween plus the sci-fi hit in that order. Herfeldt cites a critical analysis written by Carol J Clover, which identifies these surviving characters a distinctive cinematic theme – protagonists by themselves to save the day.

“She’s a bit tomboyish, reserved in nature enabling their survival because she’s quite clever,” says Herfeldt regarding this trope. “They don’t take drugs or have sex. It is irrelevant who is watching, everyone can relate to the final girl.”

Herfeldt sees a parallel from these protagonists and her sculptures – objects which only maintaining position despite the pressures they face. So is her work really concerning societal collapse than just water damage? As with many structures, these materials intended to secure and shield from deterioration are gradually failing around us.

“Absolutely,” responds the artist.

Earlier in her career with sealant applicators, Herfeldt used different unconventional substances. Recent shows featured organic-looking pieces using fabric similar to found in within outdoor gear or in coats. Similarly, one finds the sense these peculiar objects could come alive – some are concertinaed as insects in motion, some droop heavily off surfaces blocking passages collecting debris from touch (The artist invites audiences to interact and dirty her art). Similar to the foam artworks, these nylon creations are similarly displayed in – and breaking out of – cheap looking transparent cases. The pieces are deliberately unappealing, which is intentional.

“These works possess a specific look that draws viewers very attracted to, while also appearing gross,” the artist comments grinning. “It tries to be absent, yet in reality extremely obvious.”

The artist does not create art to provide comfortable or visual calm. Rather, she aims for unease, strange, or even humor. But if you start to feel something wet dripping on your head too, don’t say this was foreshadowed.