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If you're planning washroom remodeling, it might be wise to steer clear of employing the sculptor to handle it.

Truly, Herfeldt is highly skilled in handling foam materials, crafting intriguing creations out of an unusual substance. Yet the more observe the artworks, the clearer it becomes apparent that an element is a little strange.

The thick tubes from the foam Herfeldt forms reach past their supports where they rest, sagging off the edges to the ground. Those twisted foam pipes bulge before bursting open. Certain pieces break free from their transparent enclosures fully, turning into a magnet of debris and fibers. It's safe to say the ratings are unlikely to earn pretty.

At times I get an impression that objects are alive in a room,” states Herfeldt. This is why I came to use silicone sealant due to its such an organic sensation and look.”

Certainly one can detect almost visceral about the artist's creations, including that protruding shape that protrudes, like a medical condition, from the support within the showspace, or the gut-like spirals of foam which split open resembling bodily failures. Along a surface, are mounted prints showing the pieces seen from various perspectives: they look like wormy parasites picked up on a microscope, or colonies in a lab setting.

I am fascinated by that there are things in our bodies occurring that seem to hold a life of their own,” Herfeldt explains. Phenomena which remain unseen or control.”

Regarding elements beyond her influence, the exhibition advertisement for the show features a picture showing a dripping roof at her creative space in Kreuzberg, Berlin. It was erected decades ago and according to her, was instantly hated among the community because a lot of old buildings were torn down in order to make way for it. By the time in a state of disrepair when Herfeldt – a native of that city although she spent her youth in northern Germany prior to moving to the capital in her youth – took up residence.

This deteriorating space proved challenging for her work – it was risky to display the sculptures anxiously risk of ruin – however, it was intriguing. With no building plans on hand, no one knew how to repair the problems which occurred. After a part of the roof at the artist's area became so sodden it collapsed entirely, the only solution meant swapping it with another – perpetuating the issue.

In a different area, Herfeldt says the leaking was so bad that a series of drainage containers got placed in the suspended ceiling to divert the moisture elsewhere.

“I realised that this place was like a body, a completely flawed entity,” the artist comments.

The situation brought to mind Dark Star, the initial work cinematic piece about an AI-powered spacecraft which becomes autonomous. And as you might notice given the naming – Alice, Laurie & Ripley – other cinematic works influenced impacting the artist's presentation. These titles refer to the leading women from a horror classic, Halloween and Alien as listed. She mentions an academic paper by the American professor, that describes these surviving characters an original movie concept – women left alone to triumph.

They often display toughness, reserved in nature and she can survive thanks to resourcefulness,” says Herfeldt about such characters. “They don’t take drugs or engage intimately. And it doesn’t matter who is watching, we can all identify with this character.”

She draws a parallel between these characters to her artworks – objects which only staying put under strain they face. Does this mean the art really concerning social breakdown rather than simply water damage? Similar to various systems, such components meant to insulate and guard from deterioration are gradually failing around us.

“Absolutely,” responds the artist.

Earlier in her career with sealant applicators, the artist worked with alternative odd mediums. Recent shows featured forms resembling tongues made from a synthetic material found in within outdoor gear or in coats. Once more, there's the sense these peculiar objects seem lifelike – certain pieces are folded resembling moving larvae, some droop heavily from walls or extend through entries attracting dirt from footprints (The artist invites audiences to interact leaving marks on pieces). As with earlier creations, the textile works are similarly displayed in – leaving – inexpensive-seeming acrylic glass boxes. These are unattractive objects, and really that’s the point.

“These works possess a specific look which makes one very attracted to, and at the same time being quite repulsive,” the artist comments amusedly. “It tries to be absent, however, it is extremely obvious.”

Herfeldt's goal isn't art to provide comfortable or aesthetically soothed. Rather, she wants you to feel discomfort, awkward, maybe even amused. However, should you notice a moist sensation overhead too, consider yourself this was foreshadowed.