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When considering bathroom renovations, it's advisable not to choose employing this German artist for such tasks.

Certainly, she's an expert in handling foam materials, creating compelling sculptures with a surprising medium. However the more observe her creations, the clearer one notices that something feels slightly off.

The thick strands from the foam she crafts extend over display surfaces where they rest, hanging downwards to the ground. The gnarled foam pipes swell before bursting open. Certain pieces leave their transparent enclosures completely, becoming a collector for grime and particles. Let's just say the ratings are unlikely to earn favorable.

At times I get the feeling that items seem animated within a space,” remarks the sculptor. This is why I turned to silicone sealant as it offers this very bodily feel and appearance.”

In fact there’s something somewhat grotesque about these sculptures, from the phallic bulge jutting out, hernia-like, from the support within the showspace, and the winding tubes from the material that burst like medical emergencies. Displayed nearby, the artist presents photocopies of the works seen from various perspectives: resembling microscopic invaders picked up on a microscope, or colonies on culture plates.

“It interests me that there are things inside human forms occurring that seem to hold their own life,” Herfeldt explains. “Things which remain unseen or manage.”

On the subject of unmanageable factors, the promotional image featured in the exhibition displays an image of the leaky ceiling within her workspace in the German capital. It was erected decades ago as she explains, was instantly hated by local people as numerous historic structures were torn down for its development. It was already in a state of disrepair as the artist – originally from Munich but grew up in northern Germany then relocating to Berlin as a teenager – took up residence.

This decrepit property was frustrating for the artist – it was risky to display her art works anxiously potential harm – yet it also proved compelling. Lacking architectural drawings available, nobody had a clue methods to address any of the issues which occurred. After a part of the roof in Herfeldt’s studio became so sodden it collapsed entirely, the only solution involved installing the panel with a new one – perpetuating the issue.

Elsewhere on the property, the artist explains the leaking was so bad so multiple drainage containers got placed above the false roof to channel the moisture elsewhere.

It dawned on me that the building was like a body, a totally dysfunctional body,” the artist comments.

These conditions reminded her of a classic film, the initial work cinematic piece about an AI-powered spacecraft that develops independence. As the exhibition's title suggests through the heading – three distinct names – other cinematic works influenced shaping Herfeldt’s show. Those labels indicate main characters in Friday 13th, Halloween plus the sci-fi hit as listed. The artist references a 1987 essay from a scholar, outlining these “final girls” an original movie concept – protagonists by themselves to triumph.

These figures are somewhat masculine, on the silent side and she can survive thanks to resourcefulness,” she elaborates about such characters. They avoid substances or engage intimately. Regardless who is watching, all empathize with this character.”

She draws a connection from these protagonists and her sculptures – objects which only holding in place amidst stress affecting them. So is her work more about cultural decay beyond merely dripping roofs? Because like so many institutions, these materials intended to secure and shield from deterioration are gradually failing in our environment.

“Completely,” she confirms.

Earlier in her career using foam materials, she experimented with alternative odd mediums. Recent shows have involved organic-looking pieces crafted from the kind of nylon fabric found in within outdoor gear or inside a jacket. Once more, there's the sense these strange items might animate – certain pieces are folded as insects in motion, some droop heavily off surfaces or spill across doorways gathering grime from contact (She prompts audiences to interact leaving marks on pieces). Like the silicone sculptures, those fabric pieces are similarly displayed in – and breaking out of – budget-style display enclosures. They’re ugly looking things, which is intentional.

“These works possess a certain aesthetic which makes one very attracted to, while also appearing gross,” Herfeldt remarks grinning. “The art aims for invisible, yet in reality extremely obvious.”

Herfeldt's goal isn't pieces that offer ease or aesthetically soothed. Conversely, she wants you to feel unease, strange, maybe even amused. However, should you notice something wet dripping on your head additionally, remember the alert was given.