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If you're planning washroom remodeling, it's advisable not to choose employing Lisa Herfeldt for the job.

Truly, she's highly skilled with a silicone gun, crafting compelling sculptures out of an unusual art material. Yet longer you examine the artworks, the stronger you realise a certain aspect is a little unnerving.

Those hefty tubes from the foam she produces reach beyond the shelves supporting them, sagging downwards towards the floor. The knotty silicone strands swell till they rupture. Some creations leave their transparent enclosures completely, becoming a magnet for dust and hair. Let's just say the feedback might not get positive.

There are moments I feel an impression that objects possess life in a room,” states the German artist. “That’s why I turned to silicone sealant as it offers this very bodily sensation and look.”

Indeed there is an element almost visceral in the artist's creations, from the phallic bulge that protrudes, hernia-like, from the support at the exhibition's heart, or the gut-like spirals from the material which split open as if in crisis. Along a surface, Herfeldt has framed photocopies showing the pieces viewed from different angles: appearing as microscopic invaders picked up on a microscope, or colonies on a petri-dish.

What captivates me that there are things in our bodies taking place that seem to hold independent existence,” Herfeldt explains. Phenomena you can’t see or command.”

Regarding unmanageable factors, the poster for the show features a photograph showing a dripping roof at her creative space located in Berlin. The building had been erected decades ago and, she says, faced immediate dislike by local people because a lot of historic structures were torn down in order to make way for it. The place was run-down upon her – a native of that city yet raised near Hamburg then relocating to Berlin as a teenager – took up residence.

This decrepit property was frustrating for the artist – she couldn’t hang the sculptures anxiously risk of ruin – however, it was intriguing. Lacking architectural drawings available, it was unclear the way to fix the problems that arose. Once an overhead section in Herfeldt’s studio became so sodden it fell apart fully, the single remedy was to replace the damaged part – thus repeating the process.

Elsewhere on the property, Herfeldt says dripping was extreme that a series of collection units were installed above the false roof to channel the water to a different sink.

I understood that the structure was like a body, a completely flawed entity,” the artist comments.

The situation evoked memories of Dark Star, the initial work 1974 film featuring a smart spaceship that develops independence. And as you might notice from the show’s title – Alice, Laurie & Ripley – more movies have inspired to have influenced Herfeldt’s show. Those labels indicate main characters in the slasher film, the iconic thriller and Alien as listed. The artist references an academic paper written by Carol J Clover, outlining these “final girls” as a unique film trope – women left alone to overcome.

These figures are somewhat masculine, reserved in nature and they endure due to intelligence,” says Herfeldt regarding this trope. No drug use occurs or have sex. Regardless who is watching, all empathize with the final girl.”

She draws a similarity between these characters to her artworks – elements that barely holding in place despite the pressures they face. So is her work focused on cultural decay than just dripping roofs? As with many structures, these materials meant to insulate and guard us from damage are gradually failing in our environment.

“Absolutely,” says Herfeldt.

Before finding inspiration using foam materials, the artist worked with other unusual materials. Past displays have involved tongue-like shapes made from fabric similar to typical for on a sleeping bag or apparel lining. Once more, there's the impression these strange items seem lifelike – certain pieces are folded as insects in motion, others lollop down off surfaces or spill across doorways gathering grime from contact (Herfeldt encourages audiences to interact and dirty her art). Similar to the foam artworks, those fabric pieces also occupy – and breaking out of – inexpensive-seeming transparent cases. These are unattractive objects, which is intentional.

“The sculptures exhibit a particular style which makes one compelled by, while also they’re very disgusting,” the artist comments with a smile. “The art aims for not there, however, it is extremely obvious.”

Herfeldt's goal isn't work to make you feel comfortable or visual calm. Instead, her intention is to evoke discomfort, awkward, or even humor. However, should you notice a moist sensation on your head too, consider yourself the alert was given.