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If you're planning washroom remodeling, you may want not to choose hiring this German artist for such tasks.

Indeed, she's a whiz with a silicone gun, producing compelling creations from this unlikely substance. But longer you look at the artworks, the stronger it becomes apparent a certain aspect seems somewhat off.

The dense strands made of silicone Herfeldt forms reach over display surfaces on which they sit, drooping off the edges to the ground. Those twisted silicone strands bulge till they rupture. Some creations break free from their transparent enclosures completely, evolving into a collector of debris and fibers. One could imagine the ratings might not get favorable.

At times I get the feeling that items are alive in a room,” remarks the German artist. Hence I turned to this foam material due to its a distinctly physical texture and feeling.”

Certainly there’s something somewhat grotesque in these sculptures, starting with the phallic bulge which extends, similar to a rupture, from its cylindrical stand in the centre of the gallery, and the winding tubes from the material which split open like medical emergencies. On one wall, Herfeldt has framed photocopies showing the pieces viewed from different angles: resembling squirming organisms seen in scientific samples, or growths on culture plates.

I am fascinated by is how certain elements within us taking place that also have their own life,” she says. “Things which remain unseen or control.”

On the subject of unmanageable factors, the exhibition advertisement for the show displays a photograph of the leaky ceiling within her workspace in Kreuzberg, Berlin. It was built in the early 1970s as she explains, faced immediate dislike by local people as numerous old buildings were removed in order to make way for it. The place was in a state of disrepair as the artist – who was born in Munich but grew up near Hamburg before arriving in Berlin as a teenager – began using the space.

This deteriorating space caused issues to Herfeldt – she couldn’t hang the sculptures without fearing potential harm – however, it was compelling. With no building plans available, it was unclear methods to address the malfunctions that developed. When the ceiling panel within her workspace was saturated enough it gave way completely, the sole fix meant swapping the damaged part – thus repeating the process.

Elsewhere on the property, the artist explains the leaking was so bad that several shower basins were installed in the suspended ceiling to divert leaks to another outlet.

I understood that the structure resembled an organism, an entirely malfunctioning system,” the artist comments.

These conditions evoked memories of the sci-fi movie, the initial work cinematic piece featuring a smart spaceship that takes on a life of its own. As the exhibition's title suggests through the heading – three distinct names – other cinematic works influenced shaping this exhibition. The three names indicate the leading women in Friday 13th, the iconic thriller plus the sci-fi hit in that order. Herfeldt cites an academic paper written by Carol J Clover, outlining these surviving characters an original movie concept – protagonists by themselves to triumph.

They often display toughness, on the silent side enabling their survival due to intelligence,” she elaborates regarding this trope. They avoid substances nor sexual activity. It is irrelevant who is watching, everyone can relate to the survivor.”

Herfeldt sees a parallel between these characters and her sculptures – objects which only maintaining position amidst stress affecting them. Does this mean the art more about social breakdown rather than simply water damage? Similar to various systems, these materials intended to secure and shield from deterioration are gradually failing around us.

“Completely,” she confirms.

Before finding inspiration with sealant applicators, Herfeldt used other unusual materials. Previous exhibitions have involved forms resembling tongues using the kind of nylon fabric found in on a sleeping bag or inside a jacket. Similarly, one finds the sense these strange items seem lifelike – certain pieces are folded like caterpillars mid-crawl, some droop heavily from walls or spill across doorways gathering grime from contact (She prompts people to handle and dirty her art). Like the silicone sculptures, these nylon creations are similarly displayed in – leaving – inexpensive-seeming display enclosures. The pieces are deliberately unappealing, and really that’s the point.

“The sculptures exhibit a specific look that somehow you feel compelled by, yet simultaneously being quite repulsive,” the artist comments grinning. “The art aims for absent, however, it is very present.”

Herfeldt is not making pieces that offer ease or visual calm. Conversely, her intention is to evoke uncomfortable, awkward, maybe even amused. And if there's a moist sensation overhead additionally, remember the alert was given.