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When considering bathroom renovations, it's advisable to steer clear of engaging Lisa Herfeldt for the job.

Indeed, Herfeldt is a whiz in handling foam materials, creating intriguing sculptures with a surprising medium. But longer you look at the artworks, the clearer one notices a certain aspect feels slightly unnerving.

The thick tubes of sealant Herfeldt forms stretch past the shelves on which they sit, hanging downwards towards the floor. Those twisted foam pipes bulge until they split. A few artworks break free from their transparent enclosures completely, evolving into 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 are alive in a room,” states the sculptor. Hence I came to use silicone sealant because it has a distinctly physical texture and feeling.”

Certainly one can detect almost visceral about the artist's creations, starting with the phallic bulge which extends, similar to a rupture, from the support at the exhibition's heart, to the intestinal coils of foam that burst resembling bodily failures. Along a surface, the artist presents photocopies depicting the sculptures captured in multiple views: resembling microscopic invaders observed under magnification, or growths in a lab setting.

What captivates me is the idea within us taking place that also have independent existence,” she says. Phenomena that are invisible or manage.”

On the subject of unmanageable factors, the exhibition advertisement featured in the exhibition displays an image of water damage overhead at her creative space in Kreuzberg, Berlin. The building had been erected decades ago as she explains, was instantly hated by local people because a lot of historic structures were removed for its development. It was already run-down upon her – originally from Munich but grew up near Hamburg then relocating to Berlin as a teenager – moved in.

This deteriorating space proved challenging to Herfeldt – it was risky to display the sculptures without concern potential harm – but it was also fascinating. Without any blueprints accessible, nobody had a clue methods to address any of the issues which occurred. When the ceiling panel at the artist's area got thoroughly soaked it collapsed entirely, the sole fix involved installing the damaged part – perpetuating the issue.

At another site, she describes the leaking was so bad that a series of collection units were set up above the false roof to channel the moisture elsewhere.

It dawned on me that this place resembled an organism, an entirely malfunctioning system,” she says.

This scenario evoked memories of a classic film, the director's first 1974 film featuring a smart spaceship which becomes autonomous. Additionally, observers may note from the show’s title – Alice, Laurie & Ripley – more movies have inspired impacting Herfeldt’s show. The three names refer to the female protagonists from a horror classic, the iconic thriller plus the sci-fi hit in that order. She mentions an academic paper written by Carol J Clover, outlining these “final girls” an original movie concept – protagonists by themselves to triumph.

They often display toughness, rather quiet enabling their survival due to intelligence,” she elaborates of the archetypal final girl. They avoid substances nor sexual activity. Regardless the viewer’s gender, everyone can relate to the survivor.”

She draws a similarity between these characters and her sculptures – elements that barely staying put despite the pressures they face. So is her work really concerning social breakdown rather than simply leaky ceilings? Because like so many institutions, such components intended to secure and shield against harm are actually slowly eroding in our environment.

“Absolutely,” responds the artist.

Before finding inspiration in the silicone gun, the artist worked with alternative odd mediums. Past displays featured organic-looking pieces made from the kind of nylon fabric typical for on a sleeping bag or apparel lining. Similarly, one finds the impression such unusual creations could come alive – some are concertinaed like caterpillars mid-crawl, pieces hang loosely from walls or extend through entries attracting dirt from footprints (The artist invites people to handle and dirty her art). Like the silicone sculptures, these nylon creations also occupy – and escaping from – budget-style acrylic glass boxes. They’re ugly looking things, and that's the essence.

“The sculptures exhibit a certain aesthetic which makes one highly drawn to, yet simultaneously appearing gross,” the artist comments with a smile. “The art aims for not there, however, it is very present.”

Herfeldt's goal isn't pieces that offer relaxation or visual calm. Instead, her intention is to evoke discomfort, odd, or even humor. But if you start to feel water droplets on your head too, don’t say you haven’t been warned.