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When considering restroom upgrades, you may want to steer clear of hiring Lisa Herfeldt for the job.

Truly, Herfeldt is highly skilled in handling foam materials, creating compelling sculptures with a surprising medium. But as you examine these pieces, the stronger it becomes apparent that an element seems somewhat unnerving.

The thick strands made of silicone she produces reach past display surfaces where they rest, drooping downwards towards the floor. The knotty silicone strands swell before bursting open. Some creations break free from their acrylic glass box homes fully, evolving into a collector of debris and fibers. One could imagine the feedback might not get favorable.

There are moments I feel the feeling that objects possess life in a room,” says Herfeldt. “That’s why I came to use silicone sealant as it offers this very bodily feel and appearance.”

In fact there’s something almost visceral in these sculptures, including that protruding shape that protrudes, like a medical condition, from the support at the exhibition's heart, and the winding tubes made of silicone that rupture like medical emergencies. Along a surface, the artist presents photocopies depicting the sculptures seen from various perspectives: resembling wormy parasites seen in scientific samples, or growths in a lab setting.

I am fascinated by that there are things in our bodies happening that seem to hold a life of their own,” Herfeldt explains. “Things which remain unseen or control.”

Talking of elements beyond her influence, the promotional image promoting the event includes a picture of water damage overhead in her own studio in the German capital. Constructed made in the seventies and, she says, was instantly hated by local people as numerous old buildings were torn down for its development. The place was run-down as the artist – who was born in Munich although she spent her youth in northern Germany then relocating to Berlin during her teens – moved in.

The rundown building proved challenging to Herfeldt – placing artworks was difficult her art works without fearing they might be damaged – but it was also compelling. Lacking architectural drawings available, nobody had a clue methods to address the malfunctions which occurred. When the ceiling panel in Herfeldt’s studio got thoroughly soaked it collapsed entirely, the sole fix meant swapping the damaged part – perpetuating the issue.

At another site, the artist explains the water intrusion was severe that a series of drainage containers were installed above the false roof in order to redirect the water to a different sink.

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

The situation reminded her of Dark Star, the initial work 1974 film about an AI-powered spacecraft which becomes autonomous. Additionally, observers may note from the show’s title – Alice, Laurie & Ripley – that’s not the only film shaping the artist's presentation. Those labels refer to main characters in the slasher film, the iconic thriller plus the sci-fi hit in that order. The artist references an academic paper from a scholar, which identifies the last women standing a distinctive cinematic theme – women left alone to triumph.

These figures are somewhat masculine, reserved in nature and she can survive due to intelligence,” says Herfeldt about such characters. No drug use occurs or engage intimately. And it doesn’t matter who is watching, everyone can relate to the survivor.”

She draws a connection from these protagonists to her artworks – elements that barely holding in place despite the pressures they’re under. Does this mean the art focused on cultural decay beyond merely dripping roofs? As with many structures, substances like silicone meant to insulate and guard against harm are actually slowly eroding in our environment.

“Completely,” says Herfeldt.

Before finding inspiration using foam materials, Herfeldt used alternative odd mediums. Recent shows included tongue-like shapes crafted from the kind of nylon fabric typical for in insulated clothing or inside a jacket. Again there is the feeling these peculiar objects could come alive – a few are compressed as insects in motion, pieces hang loosely from walls blocking passages gathering grime from contact (The artist invites viewers to touch and dirty her art). As with earlier creations, these nylon creations are also housed in – and escaping from – inexpensive-seeming acrylic glass boxes. The pieces are deliberately unappealing, and that's the essence.

“The sculptures exhibit a certain aesthetic that somehow you feel very attracted to, yet simultaneously they’re very disgusting,” Herfeldt remarks amusedly. “It tries to be invisible, but it’s actually highly noticeable.”

Herfeldt's goal isn't pieces that offer comfortable or visual calm. Conversely, she wants you to feel uncomfortable, awkward, or even humor. And if there's a moist sensation from above additionally, don’t say the alert was given.