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If you're planning restroom upgrades, it might be wise to avoid engaging Lisa Herfeldt to handle it.

Certainly, Herfeldt is a whiz in handling foam materials, producing fascinating creations with a surprising substance. But the more observe the artworks, the stronger it becomes apparent a certain aspect feels slightly unnerving.

The dense lengths from the foam she produces stretch past the shelves where they rest, drooping off the edges towards the floor. Those twisted silicone strands swell before bursting open. Certain pieces break free from the display cases completely, turning into a collector for dust and hair. It's safe to say the ratings would not be pretty.

There are moments I feel the feeling that items seem animated within a space,” states the German artist. “That’s why I started using silicone sealant because it has a distinctly physical texture and feeling.”

In fact there is an element rather body horror about these sculptures, starting with that protruding shape that protrudes, similar to a rupture, from the support in the centre of the gallery, to the intestinal coils from the material that rupture as if in crisis. On one wall, the artist presents images showing the pieces captured in multiple views: they look like squirming organisms picked up on a microscope, or colonies on a petri-dish.

“It interests me is how certain elements within us occurring that also have a life of their own,” she says. Phenomena you can’t see or command.”

On the subject of things she can’t control, the exhibition advertisement for the show displays an image showing a dripping roof at her creative space located in Berlin. Constructed made in the seventies and according to her, faced immediate dislike from residents since many historic structures were torn down in order to make way for it. By the time dilapidated upon her – who was born in Munich although she spent her youth near Hamburg then relocating to Berlin in her youth – began using the space.

The rundown building was frustrating for her work – it was risky to display her art works without concern they might be damaged – yet it also proved intriguing. Without any blueprints on hand, no one knew methods to address the problems that arose. After a part of the roof at the artist's area became so sodden it collapsed entirely, the single remedy involved installing the damaged part – perpetuating the issue.

In a different area, she describes dripping was extreme that several collection units were set up within the drop ceiling to divert the water to a different sink.

It dawned on me that the building acted as a physical form, a completely flawed entity,” she says.

These conditions reminded her of Dark Star, the director's first movie from the seventies concerning a conscious ship that develops independence. And as you might notice from the show’s title – Alice, Laurie & Ripley – that’s not the only film impacting this exhibition. Those labels indicate main characters in the slasher film, Halloween plus the sci-fi hit in that order. She mentions a critical analysis from a scholar, which identifies these “final girls” a distinctive cinematic theme – protagonists by themselves to overcome.

“She’s a bit tomboyish, on the silent side and they endure due to intelligence,” the artist explains about such characters. No drug use occurs or engage intimately. It is irrelevant the audience's identity, everyone can relate to this character.”

She draws a connection linking these figures to her artworks – objects which only holding in place under strain affecting them. So is her work more about cultural decay than just water damage? Because like so many institutions, substances like silicone meant to insulate and guard against harm are gradually failing in our environment.

“Completely,” she confirms.

Earlier in her career in the silicone gun, the artist worked with different unconventional substances. Previous exhibitions included tongue-like shapes made from a synthetic material found in within outdoor gear or inside a jacket. Once more, there's the feeling these peculiar objects seem lifelike – certain pieces are folded resembling moving larvae, some droop heavily on vertical planes or spill across doorways gathering grime from contact (She prompts audiences to interact and dirty her art). Like the silicone sculptures, these nylon creations are similarly displayed in – leaving – inexpensive-seeming acrylic glass boxes. These are unattractive objects, which is intentional.

“These works possess a particular style that draws viewers highly drawn to, yet simultaneously they’re very disgusting,” Herfeldt remarks grinning. “The art aims for not there, yet in reality extremely obvious.”

Herfeldt's goal isn't art to provide relaxation or aesthetically soothed. Instead, she aims for unease, awkward, maybe even amused. And if there's a moist sensation overhead too, consider yourself this was foreshadowed.