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When considering washroom remodeling, it might be wise to avoid hiring the sculptor for such tasks.

Indeed, she's highly skilled with a silicone gun, crafting intriguing creations out of an unusual medium. Yet the more observe her creations, the more you realise that an element feels slightly strange.

Those hefty tubes made of silicone Herfeldt forms reach beyond their supports supporting them, sagging downwards to the ground. Those twisted tubular forms expand before bursting open. Some creations break free from their transparent enclosures entirely, turning into an attractor of debris and fibers. Let's just say the ratings are unlikely to earn favorable.

At times I get an impression that things seem animated within a space,” remarks the sculptor. This is why I started using silicone sealant due to its this very bodily sensation and look.”

In fact there is an element almost visceral about these sculptures, starting with the phallic bulge jutting out, similar to a rupture, from the support within the showspace, and the winding tubes from the material which split open as if in crisis. On one wall, are mounted photocopies of the works seen from various perspectives: appearing as microscopic invaders seen in scientific samples, or colonies on culture plates.

I am fascinated by that there are things in our bodies occurring that seem to hold independent existence,” the artist notes. Elements that are invisible or manage.”

On the subject of things she can’t control, the promotional image promoting the event displays a photograph of the leaky ceiling within her workspace in the German capital. The building had been erected decades ago and according to her, faced immediate dislike by local people as numerous historic structures got demolished in order to make way for it. It was already in a state of disrepair as the artist – a native of that city although she spent her youth near Hamburg before arriving in Berlin in her youth – took up residence.

The rundown building caused issues for her work – it was risky to display her art works anxiously risk of ruin – however, it was intriguing. Lacking architectural drawings available, nobody had a clue methods to address the malfunctions that developed. Once an overhead section within her workspace was saturated enough it gave way completely, the only solution was to replace it with another – thus repeating the process.

Elsewhere on the property, the artist explains the leaking was so bad that a series of collection units were installed within the drop ceiling in order to redirect leaks to another outlet.

I understood that this place resembled an organism, a totally dysfunctional body,” Herfeldt states.

These conditions reminded her of the sci-fi movie, the director's first cinematic piece concerning a conscious ship which becomes autonomous. Additionally, observers may note given the naming – Alice, Laurie & Ripley – other cinematic works influenced shaping Herfeldt’s show. Those labels indicate main characters from a horror classic, another scary movie plus the sci-fi hit as listed. The artist references a critical analysis by the American professor, that describes these surviving characters an original movie concept – protagonists by themselves to overcome.

They often display toughness, reserved in nature and they endure because she’s quite clever,” says Herfeldt about such characters. No drug use occurs nor sexual activity. It is irrelevant who is watching, everyone can relate to the final girl.”

The artist identifies a connection linking these figures to her artworks – elements that barely maintaining position amidst stress they face. So is her work really concerning societal collapse than just leaky ceilings? Because like so many institutions, these materials meant to insulate and guard from deterioration in fact are decaying within society.

“Absolutely,” says Herfeldt.

Earlier in her career in the silicone gun, she experimented with different unconventional substances. Past displays have involved forms resembling tongues using fabric similar to typical for within outdoor gear or apparel lining. Again there is the sense these strange items seem lifelike – certain pieces are folded as insects in motion, pieces hang loosely from walls blocking passages collecting debris from touch (The artist invites viewers to touch and soil the works). Similar to the foam artworks, the textile works are similarly displayed in – and breaking out of – inexpensive-seeming display enclosures. These are unattractive objects, and really that’s the point.

“They have a particular style that draws viewers very attracted to, while also they’re very disgusting,” she says amusedly. “It attempts to seem absent, but it’s actually extremely obvious.”

The artist does not create pieces that offer relaxation or aesthetically soothed. Rather, she aims for unease, awkward, maybe even amused. And if there's something wet dripping from above as well, don’t say the alert was given.