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Should you be thinking about washroom remodeling, it's advisable to avoid hiring Lisa Herfeldt to handle it.

Certainly, she's an expert with a silicone gun, creating intriguing sculptures from this unlikely art material. However longer you examine these pieces, the stronger it becomes apparent a certain aspect seems somewhat off.

The thick tubes made of silicone Herfeldt forms stretch past display surfaces where they rest, drooping over the sides below. Those twisted foam pipes bulge till they rupture. Certain pieces escape their transparent enclosures fully, becoming a collector of debris and fibers. One could imagine the feedback might not get positive.

There are moments I feel an impression that items seem animated in a room,” remarks Herfeldt. This is why I started using this substance due to its a distinctly physical texture and feeling.”

Indeed there’s something almost visceral about Herfeldt’s work, starting with the suggestive swelling that protrudes, similar to a rupture, from its cylindrical stand within the showspace, or the gut-like spirals made of silicone which split open like medical emergencies. Displayed nearby, the artist presents prints of the works seen from various perspectives: appearing as microscopic invaders seen in scientific samples, or colonies in a lab setting.

I am fascinated by is how certain elements within us happening that also have a life of their own,” she says. Phenomena that are invisible or command.”

Talking of unmanageable factors, the poster promoting the event includes an image of the leaky ceiling within her workspace in the German capital. It was erected decades ago as she explains, was instantly hated from residents since many older edifices got demolished to allow its construction. By the time dilapidated as the artist – who was born in Munich but grew up near Hamburg before arriving in Berlin in her youth – began using the space.

The rundown building proved challenging to Herfeldt – placing artworks was difficult her pieces anxiously potential harm – however, it was compelling. Lacking architectural drawings accessible, nobody had a clue the way to fix the malfunctions that arose. After a part of the roof at the artist's area was saturated enough it gave way completely, the single remedy involved installing the panel with a new one – perpetuating the issue.

In a different area, the artist explains the water intrusion was severe that a series of shower basins were installed in the suspended ceiling in order to redirect leaks to another outlet.

“I realised that the structure acted as a physical form, an entirely malfunctioning system,” Herfeldt states.

The situation brought to mind a classic film, the initial work movie from the seventies featuring a smart spaceship which becomes autonomous. Additionally, observers may note through the heading – Alice, Laurie & Ripley – other cinematic works influenced impacting the artist's presentation. Those labels refer to main characters from a horror classic, the iconic thriller and Alien respectively. She mentions a 1987 essay written by Carol J Clover, that describes these “final girls” an original movie concept – women left alone to overcome.

“She’s a bit tomboyish, on the silent side and they endure due to intelligence,” says Herfeldt regarding this trope. “They don’t take drugs or have sex. Regardless who is watching, we can all identify with the survivor.”

Herfeldt sees a connection between these characters with her creations – things that are just about maintaining position under strain they face. Does this mean the art really concerning societal collapse than just leaky ceilings? Because like so many institutions, such components intended to secure and shield us from damage in fact are decaying in our environment.

“Absolutely,” says Herfeldt.

Before finding inspiration using foam materials, Herfeldt used alternative odd mediums. Past displays included forms resembling tongues using a synthetic material typical for within outdoor gear or apparel lining. Once more, there's the impression these strange items could come alive – a few are compressed as insects in motion, others lollop down off surfaces or extend through entries gathering grime from contact (Herfeldt encourages viewers to touch and soil the works). Similar to the foam artworks, these nylon creations are also housed in – leaving – budget-style transparent cases. These are unattractive objects, and that's the essence.

“The sculptures exhibit a certain aesthetic that draws viewers compelled by, while also being quite repulsive,” Herfeldt remarks amusedly. “It tries to be absent, however, it is highly noticeable.”

Herfeldt's goal isn't pieces that offer relaxation or aesthetically soothed. Conversely, her intention is to evoke discomfort, awkward, perhaps entertained. And if there's a moist sensation on your head additionally, don’t say you haven’t been warned.