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If you're planning washroom remodeling, it's advisable not to choose engaging this German artist for such tasks.

Truly, Herfeldt is an expert in handling foam materials, creating intriguing artworks with a surprising substance. But as you examine her creations, the clearer it becomes apparent a certain aspect is a little off.

The thick strands from the foam Herfeldt forms reach past their supports where they rest, hanging over the sides towards the floor. The gnarled silicone strands bulge till they rupture. A few artworks break free from their acrylic glass box homes completely, turning into a collector for dust and hair. Let's just say the reviews might not get pretty.

“I sometimes have an impression that things seem animated inside an area,” says Herfeldt. This is why I started using silicone sealant due to its such an organic feel and appearance.”

Certainly there is an element rather body horror in Herfeldt’s work, starting with the suggestive swelling which extends, like a medical condition, off its base within the showspace, to the intestinal coils of foam that rupture as if in crisis. Displayed nearby, Herfeldt has framed photocopies of the works captured in multiple views: they look like microscopic invaders observed under magnification, or growths in a lab setting.

“It interests me that there are things within us taking place that seem to hold independent existence,” she says. Phenomena you can’t see or command.”

On the subject of unmanageable factors, the exhibition advertisement promoting the event displays a photograph of water damage overhead in her own studio in the German capital. It was erected decades ago and according to her, was quickly despised by local people because a lot of historic structures were removed for its development. The place was dilapidated as the artist – originally from Munich but grew up north of Hamburg then relocating to Berlin in her youth – took up residence.

This deteriorating space was frustrating for the artist – placing artworks was difficult her art works without fearing risk of ruin – however, it was intriguing. Without any blueprints available, nobody had a clue methods to address the malfunctions that developed. After a part of the roof in Herfeldt’s studio became so sodden it gave way completely, the sole fix involved installing it with another – thus repeating the process.

In a different area, the artist explains the leaking was so bad that several drainage containers got placed above the false roof in order to redirect leaks to another outlet.

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

These conditions brought to mind Dark Star, the initial work movie from the seventies about an AI-powered spacecraft which becomes autonomous. Additionally, observers may note given the naming – Alice, Laurie & Ripley – that’s not the only film shaping the artist's presentation. These titles point to main characters in the slasher film, another scary movie and Alien as listed. The artist references a critical analysis by the American professor, outlining these “final girls” a distinctive cinematic theme – women left alone to overcome.

They often display toughness, on the silent side enabling their survival due to intelligence,” the artist explains regarding this trope. No drug use occurs nor sexual activity. It is irrelevant the viewer’s gender, we can all identify with this character.”

The artist identifies a connection between these characters with her creations – elements that barely staying put under strain they face. So is her work really concerning societal collapse beyond merely leaky ceilings? Because like so many institutions, such components that should seal and protect us from damage are actually slowly eroding within society.

“Absolutely,” responds the artist.

Prior to discovering her medium using foam materials, the artist worked with different unconventional substances. Recent shows featured forms resembling tongues made from a synthetic material found in within outdoor gear or in coats. Again there is the sense these strange items could come alive – a few are compressed resembling moving larvae, others lollop down on vertical planes or spill across doorways gathering grime from contact (Herfeldt encourages audiences to interact leaving marks on pieces). Similar to the foam artworks, the textile works are similarly displayed in – leaving – cheap looking display enclosures. These are unattractive objects, and that's the essence.

“These works possess a certain aesthetic that draws viewers compelled by, while also being quite repulsive,” she says amusedly. “It attempts to seem absent, yet in reality very present.”

Herfeldt is not making work to make you feel ease or visual calm. Instead, she wants you to feel uncomfortable, awkward, maybe even amused. However, should you notice something wet dripping overhead too, remember this was foreshadowed.