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When considering restroom upgrades, it might be wise not to choose hiring this German artist for such tasks.

Truly, Herfeldt is highly skilled with a silicone gun, producing fascinating creations out of an unusual medium. Yet the more examine the artworks, the stronger you realise that an element seems somewhat off.

Those hefty tubes made of silicone she produces stretch past their supports on which they sit, drooping off the edges below. Those twisted silicone strands bulge until they split. Some creations break free from their transparent enclosures completely, becoming an attractor for grime and particles. It's safe to say the reviews would not be favorable.

There are moments I feel the feeling that objects are alive within a space,” says the sculptor. “That’s why I turned to this substance because it has such an organic feel and appearance.”

Indeed one can detect rather body horror in the artist's creations, including the suggestive swelling jutting out, hernia-like, from its cylindrical stand in the centre of the gallery, and the winding tubes of foam that rupture like medical emergencies. On one wall, the artist presents images depicting the sculptures captured in multiple views: appearing as wormy parasites seen in scientific samples, or formations on culture plates.

What captivates me that there are things inside human forms taking place which possess a life of their own,” Herfeldt explains. Phenomena which remain unseen or manage.”

Regarding things she can’t control, the promotional image promoting the event includes a picture showing a dripping roof at her creative space located in Berlin. The building had been erected decades ago as she explains, was quickly despised among the community because a lot of older edifices were removed in order to make way for it. By the time dilapidated when Herfeldt – originally from Munich but grew up in northern Germany prior to moving to the capital during her teens – moved in.

This deteriorating space 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 problems which occurred. When the ceiling panel in Herfeldt’s studio became so sodden it fell apart fully, the single remedy involved installing it with another – thus repeating the process.

At another site, Herfeldt says the leaking was so bad that a series of drainage containers were set up within the drop ceiling to divert the water to a different sink.

“I realised that this place acted as a physical form, a completely flawed entity,” Herfeldt states.

The situation reminded her of the sci-fi movie, the director's first 1974 film about an AI-powered spacecraft that develops independence. As the exhibition's title suggests given the naming – three distinct names – other cinematic works influenced shaping the artist's presentation. These titles refer to the female protagonists from a horror classic, Halloween and Alien respectively. Herfeldt cites a 1987 essay written by Carol J Clover, that describes these “final girls” as a unique film trope – women left alone to overcome.

“She’s a bit tomboyish, reserved in nature enabling their survival thanks to resourcefulness,” the artist explains regarding this trope. They avoid substances or have sex. It is irrelevant the viewer’s gender, we can all identify with this character.”

She draws a parallel from these protagonists with her creations – elements that barely holding in place despite the pressures they face. Is the exhibition really concerning cultural decay rather than simply leaky ceilings? Because like so many institutions, these materials intended to secure and shield against harm are actually slowly eroding around us.

“Oh, totally,” she confirms.

Earlier in her career in the silicone gun, the artist worked with alternative odd mediums. Recent shows included tongue-like shapes crafted from a synthetic material found in on a sleeping bag or apparel lining. Similarly, one finds the sense these peculiar objects might animate – some are concertinaed like caterpillars mid-crawl, some droop heavily off surfaces or spill across doorways collecting debris from touch (Herfeldt encourages people to handle leaving marks on pieces). Like the silicone sculptures, these nylon creations also occupy – and breaking out of – cheap looking acrylic glass boxes. These are unattractive objects, and really that’s the point.

“These works possess a specific look that draws viewers very attracted to, and at the same time being quite repulsive,” Herfeldt remarks grinning. “It attempts to seem not there, however, it is highly noticeable.”

Herfeldt is not making pieces that offer comfortable or visual calm. Rather, she wants you to feel discomfort, strange, or even humor. But if you start to feel a moist sensation overhead additionally, remember the alert was given.