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When considering washroom remodeling, it might be wise not to choose employing Lisa Herfeldt for the job.

Truly, Herfeldt is a whiz using sealant applicators, producing intriguing sculptures out of an unusual substance. Yet the more look at these pieces, the more one notices a certain aspect seems somewhat unnerving.

Those hefty tubes from the foam she produces extend over display surfaces supporting them, hanging off the edges below. The knotty foam pipes bulge till they rupture. A few artworks escape their acrylic glass box homes entirely, turning into a magnet for grime and particles. Let's just say the ratings might not get favorable.

“I sometimes have the feeling that things are alive inside an area,” states Herfeldt. Hence I turned to this foam material because it has such an organic texture and feeling.”

Certainly one can detect almost visceral regarding Herfeldt’s work, from the phallic bulge that protrudes, similar to a rupture, off its base within the showspace, and the winding tubes from the material that burst resembling bodily failures. On one wall, Herfeldt has framed images of the works captured in multiple views: they look like squirming organisms picked up on a microscope, or colonies on culture plates.

What captivates me that there are things in our bodies happening that seem to hold independent existence,” the artist notes. “Things which remain unseen or command.”

Talking of things she can’t control, the exhibition advertisement promoting the event displays a photograph showing a dripping roof within her workspace in Kreuzberg, Berlin. The building had been built in the early 1970s as she explains, was quickly despised by local people as numerous older edifices were removed for its development. By the time in a state of disrepair as the artist – originally from Munich yet raised near Hamburg then relocating to Berlin during her teens – took up residence.

This decrepit property proved challenging to Herfeldt – it was risky to display her pieces anxiously they might be damaged – however, it was fascinating. Without any blueprints accessible, nobody had a clue methods to address the malfunctions that arose. Once an overhead section in Herfeldt’s studio got thoroughly soaked it gave way completely, the single remedy was to replace the panel with a new one – perpetuating the issue.

Elsewhere on the property, Herfeldt says the leaking was so bad that several collection units got placed above the false roof to channel the moisture elsewhere.

“I realised that this place was like a body, an entirely malfunctioning system,” the artist comments.

The situation brought to mind a classic film, John Carpenter’s debut movie from the seventies featuring a smart spaceship that develops independence. As the exhibition's title suggests given the naming – three distinct names – more movies have inspired impacting Herfeldt’s show. Those labels indicate main characters in Friday 13th, another scary movie and Alien in that order. She mentions a critical analysis by the American professor, outlining the last women standing as a unique film trope – female characters isolated to save the day.

They often display toughness, on the silent side and she can survive due to intelligence,” says Herfeldt of the archetypal final girl. No drug use occurs nor sexual activity. It is irrelevant the viewer’s gender, all empathize with the survivor.”

The artist identifies a similarity from these protagonists with her creations – elements that barely staying put under strain affecting them. Does this mean the art more about social breakdown than just water damage? Similar to various systems, substances like silicone meant to insulate and guard against harm are actually slowly eroding within society.

“Completely,” she confirms.

Prior to discovering her medium in the silicone gun, Herfeldt used alternative odd mediums. Recent shows featured organic-looking pieces using fabric similar to typical for in insulated clothing or inside a jacket. Again there is the sense these strange items seem lifelike – certain pieces are folded resembling moving larvae, pieces hang loosely from walls blocking passages collecting debris from touch (She prompts audiences to interact and dirty her art). Like the silicone sculptures, the textile works are also housed in – leaving – budget-style acrylic glass boxes. These are unattractive objects, which is intentional.

“These works possess a specific look that somehow you feel compelled by, yet simultaneously appearing gross,” she says grinning. “The art aims for absent, yet in reality extremely obvious.”

Herfeldt is not making work to make you feel comfortable or aesthetically soothed. Conversely, she wants you to feel discomfort, odd, or even humor. And if there's something wet dripping from above too, remember the alert was given.