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Should you be thinking about bathroom renovations, you may want not to choose hiring Lisa Herfeldt for such tasks.

Truly, she's an expert with a silicone gun, producing intriguing creations with a surprising medium. Yet as you look at these pieces, the clearer it becomes apparent that an element seems somewhat off.

Those hefty strands from the foam she crafts stretch beyond the shelves where they rest, hanging over the sides to the ground. The knotty silicone strands bulge before bursting open. A few artworks leave their acrylic glass box homes fully, evolving into an attractor of debris and fibers. It's safe to say the reviews might not get pretty.

At times I get an impression that objects seem animated within a space,” says the German artist. This is why I came to use this foam material because it has such an organic sensation and look.”

In fact one can detect rather body horror in Herfeldt’s work, from the phallic bulge jutting out, like a medical condition, from its cylindrical stand within the showspace, or the gut-like spirals made of silicone that burst as if in crisis. Displayed nearby, are mounted photocopies of the works viewed from different angles: appearing as squirming organisms observed under magnification, or formations in a lab setting.

What captivates me is the idea inside human forms occurring that also have independent existence,” she says. Elements you can’t see or command.”

On the subject of elements beyond her influence, the promotional image for the show includes an image of water damage overhead in her own studio in the German capital. The building had been made in the seventies and according to her, was instantly hated by local people as numerous historic structures were removed in order to make way for it. The place was dilapidated upon her – who was born in Munich but grew up north of Hamburg prior to moving to the capital in her youth – moved in.

This deteriorating space was frustrating to Herfeldt – she couldn’t hang her art works without fearing they might be damaged – however, it was compelling. Without any blueprints on hand, nobody had a clue methods to address the problems which occurred. Once an overhead section at the artist's area got thoroughly soaked it fell apart fully, the sole fix was to replace it with another – perpetuating the issue.

In a different area, Herfeldt says the water intrusion was severe so multiple collection units were installed above the false roof to channel leaks to another outlet.

It dawned on me that the structure acted as a physical form, a completely flawed entity,” the artist comments.

The situation brought to mind Dark Star, the director's first 1974 film concerning a conscious ship that develops independence. Additionally, observers may note from the show’s title – a trio of references – other cinematic works influenced impacting this exhibition. These titles indicate the female protagonists in the slasher film, the iconic thriller and Alien in that order. She mentions an academic paper by the American professor, that describes the last women standing an original movie concept – female characters isolated to overcome.

“She’s a bit tomboyish, rather quiet and she can survive because she’s quite clever,” the artist explains regarding this trope. “They don’t take drugs nor sexual activity. And it doesn’t matter the audience's identity, all empathize with the final girl.”

Herfeldt sees a connection from these protagonists with her creations – things that are just about staying put amidst stress they’re under. Does this mean the art more about societal collapse than just water damage? Similar to various systems, such components that should seal and protect us from damage are actually slowly eroding within society.

“Completely,” she confirms.

Earlier in her career using foam materials, she experimented with different unconventional substances. Past displays have involved forms resembling tongues using the kind of nylon fabric found in in insulated clothing or in coats. Similarly, one finds the feeling such unusual creations could come alive – a few are compressed as insects in motion, others lollop down on vertical planes or spill across doorways gathering grime from contact (She prompts audiences to interact and soil the works). Like the silicone sculptures, the textile works also occupy – leaving – budget-style display enclosures. The pieces are deliberately unappealing, and really that’s the point.

“These works possess a specific look that draws viewers highly drawn to, and at the same time being quite repulsive,” Herfeldt remarks amusedly. “The art aims for absent, however, it is highly noticeable.”

Herfeldt is not making pieces that offer comfortable or aesthetically soothed. Rather, her intention is to evoke unease, awkward, maybe even amused. However, should you notice something wet dripping on your head as well, consider yourself this was foreshadowed.