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Should you be thinking about restroom upgrades, it's advisable to steer clear of employing the sculptor to handle it.

Truly, Herfeldt is an expert with a silicone gun, producing compelling sculptures from this unlikely medium. Yet as you examine these pieces, the stronger you realise that something is a little strange.

Those hefty lengths of sealant Herfeldt forms stretch past display surfaces supporting them, sagging over the sides to the ground. The knotty tubular forms swell until they split. Certain pieces escape the display cases entirely, becoming a magnet for dust and hair. It's safe to say the ratings would not be favorable.

There are moments I feel an impression that objects are alive within a space,” states the sculptor. Hence I came to use silicone sealant because it has a distinctly physical sensation and look.”

Indeed one can detect almost visceral in these sculptures, from the suggestive swelling that protrudes, hernia-like, from its cylindrical stand within the showspace, or the gut-like spirals from the material that burst like medical emergencies. Along a surface, the artist presents prints of the works viewed from different angles: they look like squirming organisms seen in scientific samples, or formations in a lab setting.

What captivates me that there are things inside human forms happening which possess a life of their own,” she says. Phenomena that are invisible or manage.”

Regarding things she can’t control, the promotional image for the show features a picture of the leaky ceiling in her own studio in Kreuzberg, Berlin. It was made in the seventies as she explains, faced immediate dislike from residents because a lot of older edifices were torn down to allow its construction. By the time dilapidated as the artist – who was born in Munich but grew up north of Hamburg then relocating to Berlin in her youth – began using the space.

This decrepit property proved challenging for the artist – she couldn’t hang her art works without fearing they might be damaged – but it was also compelling. Lacking architectural drawings on hand, nobody had a clue methods to address the problems that arose. When the ceiling panel within her workspace was saturated enough it gave way completely, the single remedy was to replace the damaged part – perpetuating the issue.

Elsewhere on the property, the artist explains the leaking was so bad that a series of collection units were installed above the false roof to channel the water to a different sink.

I understood that this place acted as a physical form, a totally dysfunctional body,” Herfeldt states.

The situation reminded her of the sci-fi movie, the director's first movie from the seventies featuring a smart spaceship that develops independence. And as you might notice through the heading – three distinct names – more movies have inspired impacting this exhibition. The three names point to the leading women in Friday 13th, Halloween plus the sci-fi hit in that order. The artist references a critical analysis written by Carol J Clover, that describes these “final girls” a distinctive cinematic theme – female characters isolated to save the day.

“She’s a bit tomboyish, rather quiet and they endure due to intelligence,” says Herfeldt about such characters. No drug use occurs or have sex. And it doesn’t matter the audience's identity, we can all identify with the final girl.”

The artist identifies a similarity linking these figures to her artworks – elements that barely maintaining position under strain they face. Does this mean the art more about social breakdown rather than simply leaky ceilings? As with many structures, such components meant to insulate and guard against harm are gradually failing around us.

“Absolutely,” responds the artist.

Before finding inspiration with sealant applicators, she experimented with alternative odd mediums. Recent shows have involved tongue-like shapes using the kind of nylon fabric typical for on a sleeping bag or apparel lining. Similarly, one finds the impression these peculiar objects might animate – certain pieces are folded resembling moving larvae, others lollop down off surfaces or spill across doorways attracting dirt from footprints (Herfeldt encourages viewers to touch leaving marks on pieces). As with earlier creations, those fabric pieces are also housed in – and escaping from – inexpensive-seeming transparent cases. These are unattractive objects, which is intentional.

“These works possess a specific look that somehow you feel highly drawn to, while also being quite repulsive,” she says with a smile. “It tries to be absent, but it’s actually highly noticeable.”

Herfeldt's goal isn't pieces that offer relaxation or visual calm. Conversely, she aims for uncomfortable, strange, or even humor. But if you start to feel something wet dripping on your head as well, remember this was foreshadowed.