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Should you be thinking about restroom upgrades, it might be wise to avoid employing Lisa Herfeldt for the job.

Indeed, Herfeldt is an expert in handling foam materials, creating intriguing artworks out of an unusual medium. However longer you observe the artworks, the clearer it becomes apparent that something is a little off.

The thick strands from the foam she produces extend past the shelves on which they sit, hanging off the edges below. The knotty tubular forms expand till they rupture. Certain pieces escape the display cases completely, turning into an attractor for dust and hair. Let's just say the feedback are unlikely to earn favorable.

“I sometimes have an impression that items seem animated inside an area,” says the German artist. This is why I came to use silicone sealant due to its such an organic sensation and look.”

In fact one can detect almost visceral regarding these sculptures, from that protruding shape which extends, similar to a rupture, off its base at the exhibition's heart, or the gut-like spirals made of silicone that burst like medical emergencies. Along a surface, Herfeldt has framed images of the works seen from various perspectives: they look like squirming organisms seen in scientific samples, or formations in a lab setting.

What captivates me is the idea within us happening that also have a life of their own,” Herfeldt explains. Phenomena that are invisible or manage.”

Regarding unmanageable factors, the promotional image for the show includes a picture of the leaky ceiling within her workspace in the German capital. Constructed erected decades ago and according to her, was quickly despised from residents since many old buildings got demolished for its development. The place was run-down as the artist – who was born in Munich but grew up north of Hamburg prior to moving to the capital during her teens – moved in.

This deteriorating space proved challenging for the artist – placing artworks was difficult her art works without fearing risk of ruin – however, it was fascinating. Lacking architectural drawings on hand, it was unclear methods to address the malfunctions that arose. After a part of the roof within her workspace got thoroughly soaked it collapsed entirely, the only solution meant swapping it with another – perpetuating the issue.

In a different area, the artist explains the leaking was so bad that several collection units were set up in the suspended ceiling in order to redirect the water to a different sink.

It dawned on me that the building was like a body, a completely flawed entity,” Herfeldt states.

These conditions evoked memories of a classic film, the director's first 1974 film featuring a smart spaceship that develops independence. And as you might notice through the heading – Alice, Laurie & Ripley – other cinematic works influenced shaping Herfeldt’s show. The three names refer to the leading women in Friday 13th, the iconic thriller and the extraterrestrial saga respectively. The artist references a critical analysis written by Carol J Clover, outlining these “final girls” a distinctive cinematic theme – female characters isolated to triumph.

These figures are somewhat masculine, reserved in nature and she can survive due to intelligence,” the artist explains regarding this trope. They avoid substances or have sex. And it doesn’t matter the audience's identity, we can all identify with the final girl.”

She draws a similarity between these characters with her creations – things that are just about staying put under strain they face. Is the exhibition more about societal collapse than just water damage? As with many structures, such components that should seal and protect us from damage are gradually failing within society.

“Oh, totally,” responds the artist.

Earlier in her career in the silicone gun, the artist worked with different unconventional substances. Past displays included organic-looking pieces crafted from the kind of nylon fabric typical for on a sleeping bag or in coats. Similarly, one finds the impression such unusual creations could come alive – some are concertinaed as insects in motion, pieces hang loosely off surfaces blocking passages gathering grime from contact (Herfeldt encourages people to handle and dirty her art). Like the silicone sculptures, these nylon creations are similarly displayed in – and breaking out of – budget-style transparent cases. The pieces are deliberately unappealing, and really that’s the point.

“These works possess a certain aesthetic which makes one compelled by, while also being quite repulsive,” she says amusedly. “The art aims for not there, but it’s actually extremely obvious.”

Herfeldt is not making art to provide comfortable or visual calm. Rather, her intention is to evoke discomfort, odd, maybe even amused. And if there's a moist sensation from above as well, remember the alert was given.