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If you're planning bathroom renovations, it's advisable to avoid employing Lisa Herfeldt to handle it.

Truly, she's a whiz in handling foam materials, creating fascinating creations from this unlikely art material. But longer you observe the artworks, the more one notices that something seems somewhat off.

The thick tubes from the foam Herfeldt forms reach beyond display surfaces where they rest, sagging over the sides towards the floor. Those twisted foam pipes bulge before bursting open. Some creations leave their acrylic glass box homes completely, evolving into a magnet of debris and fibers. One could imagine the reviews are unlikely to earn pretty.

At times I get the feeling that objects possess life within a space,” says the German artist. This is why I started using silicone sealant as it offers a distinctly physical sensation and look.”

Indeed one can detect almost visceral regarding Herfeldt’s work, including the phallic bulge which extends, hernia-like, off its base in the centre of the gallery, or the gut-like spirals made of silicone that rupture as if in crisis. On one wall, are mounted images showing the pieces seen from various perspectives: appearing as squirming organisms observed under magnification, or growths in a lab setting.

What captivates me is the idea in our bodies occurring which possess independent existence,” Herfeldt explains. “Things that are invisible or manage.”

Talking of elements beyond her influence, the exhibition advertisement featured in the exhibition displays a photograph of water damage overhead in her own studio in Kreuzberg, Berlin. It was built in the early 1970s as she explains, was quickly despised from residents because a lot of historic structures were removed in order to make way for it. By the time in a state of disrepair upon her – who was born in Munich yet raised in northern Germany before arriving in Berlin during her teens – took up residence.

This decrepit property proved challenging for the artist – placing artworks was difficult her art works anxiously potential harm – yet it also proved fascinating. With no building plans available, nobody had a clue how to repair the malfunctions that arose. When the ceiling panel within her workspace became so sodden it fell apart fully, the only solution was to replace it with another – and so the cycle continued.

At another site, Herfeldt says dripping was extreme that several drainage containers were installed above the false roof to channel the moisture elsewhere.

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

This scenario brought to mind Dark Star, John Carpenter’s debut 1974 film about an AI-powered spacecraft that develops independence. Additionally, observers may note from the show’s title – three distinct names – more movies have inspired to have influenced this exhibition. The three names indicate the female protagonists in Friday 13th, another scary movie and the extraterrestrial saga as listed. Herfeldt cites a critical analysis written by Carol J Clover, outlining these surviving characters as a unique film trope – women left alone to overcome.

“She’s a bit tomboyish, reserved in nature and they endure due to intelligence,” the artist explains of the archetypal final girl. They avoid substances nor sexual activity. Regardless the audience's identity, all empathize with the survivor.”

She draws a similarity linking these figures and her sculptures – things that are just about staying put amidst stress they face. So is her work more about societal collapse beyond merely dripping roofs? As with many structures, these materials intended to secure and shield from deterioration in fact are decaying within society.

“Absolutely,” responds the artist.

Before finding inspiration using foam materials, the artist worked with alternative odd mediums. Recent shows featured tongue-like shapes using fabric similar to you might see in insulated clothing or in coats. Similarly, one finds the feeling these peculiar objects might animate – certain pieces are folded resembling moving larvae, some droop heavily from walls blocking passages collecting debris from touch (She prompts people to handle leaving marks on pieces). As with earlier creations, these nylon creations also occupy – and breaking out of – budget-style display enclosures. They’re ugly looking things, which is intentional.

“The sculptures exhibit a specific look that somehow you feel very attracted to, and at the same time being quite repulsive,” Herfeldt remarks amusedly. “The art aims for not there, but it’s actually highly noticeable.”

Herfeldt's goal isn't art to provide comfortable or beauty. Instead, she wants you to feel uncomfortable, awkward, perhaps entertained. However, should you notice water droplets overhead as well, remember this was foreshadowed.