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Should you be thinking about bathroom renovations, it might be wise to avoid employing Lisa Herfeldt for such tasks.

Indeed, she's highly skilled in handling foam materials, crafting compelling sculptures out of an unusual art material. However as you look at the artworks, the stronger you realise that something seems somewhat off.

The thick strands from the foam she crafts reach past display surfaces on which they sit, sagging downwards below. Those twisted tubular forms swell before bursting open. Some creations escape their acrylic glass box homes fully, evolving into an attractor for grime and particles. One could imagine the reviews would not be pretty.

At times I get an impression that things possess life in a room,” states the sculptor. “That’s why I turned to this substance due to its a distinctly physical sensation and look.”

Indeed there’s something rather body horror in these sculptures, starting with the phallic bulge which extends, hernia-like, from the support at the exhibition's heart, and the winding tubes from the material which split open like medical emergencies. On one wall, are mounted photocopies of the works viewed from different angles: appearing as microscopic invaders observed under magnification, or colonies in a lab setting.

What captivates me is the idea inside human forms happening that seem to hold their own life,” she says. Elements that are invisible or manage.”

On the subject of unmanageable factors, the exhibition advertisement for the show includes a photograph of the leaky ceiling within her workspace in Kreuzberg, Berlin. It was built in the early 1970s and, she says, was quickly despised among the community since many older edifices were torn down in order to make way for it. The place was run-down when Herfeldt – who was born in Munich although she spent her youth near Hamburg then relocating to Berlin during her teens – began using the space.

This decrepit property caused issues to Herfeldt – she couldn’t hang her art works without fearing risk of ruin – but it was also fascinating. Without any blueprints on hand, nobody had a clue methods to address any of the issues which occurred. When the ceiling panel within her workspace became so sodden it collapsed entirely, the sole fix involved installing it with another – perpetuating the issue.

At another site, she describes dripping was extreme that a series of collection units were installed within the drop ceiling to channel the water to a different sink.

I understood that the structure resembled an organism, a totally dysfunctional body,” she says.

These conditions evoked memories of Dark Star, John Carpenter’s debut 1974 film featuring a smart spaceship which becomes autonomous. Additionally, observers may note given the naming – a trio of references – other cinematic works influenced to have influenced Herfeldt’s show. Those labels indicate the leading women in Friday 13th, the iconic thriller plus the sci-fi hit in that order. Herfeldt cites a 1987 essay written by Carol J Clover, that describes the last women standing an original movie concept – women left alone to overcome.

They often display toughness, rather quiet and she can survive due to intelligence,” the artist explains regarding this trope. They avoid substances nor sexual activity. And it doesn’t matter the audience's identity, all empathize with the final girl.”

Herfeldt sees a similarity linking these figures to her artworks – objects which only staying put amidst stress they’re under. So is her work really concerning cultural decay rather than simply water damage? Similar to various systems, these materials meant to insulate and guard against harm are actually slowly eroding in our environment.

“Oh, totally,” says Herfeldt.

Before finding inspiration with sealant applicators, the artist worked with different unconventional substances. Previous exhibitions featured organic-looking pieces made from a synthetic material found in on a sleeping bag or inside a jacket. Again there is the feeling these peculiar objects could come alive – a few are compressed as insects in motion, others lollop down from walls or spill across doorways collecting debris from touch (She prompts viewers to touch and soil the works). Like the silicone sculptures, these nylon creations also occupy – and escaping from – budget-style transparent cases. These are unattractive objects, and really that’s the point.

“They have a specific look that somehow you feel compelled by, while also they’re very disgusting,” Herfeldt remarks with a smile. “It attempts to seem not there, yet in reality highly noticeable.”

The artist does not create art to provide ease or beauty. Rather, she aims for unease, awkward, or even humor. However, should you notice water droplets on your head too, don’t say you haven’t been warned.