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If you're planning bathroom renovations, you may want not to choose engaging Lisa Herfeldt for the job.

Truly, she's highly skilled using sealant applicators, producing fascinating artworks from this unlikely medium. However longer you look at her creations, the stronger you realise a certain aspect seems somewhat off.

The thick tubes of sealant she crafts reach past display surfaces where they rest, drooping downwards below. The knotty tubular forms bulge until they split. Some creations escape the display cases entirely, becoming an attractor for grime and particles. One could imagine the ratings might not get positive.

There are moments I feel the feeling that objects seem animated within a space,” says the sculptor. This is why I started using this substance due to its such an organic feel and appearance.”

In fact there is an element somewhat grotesque about Herfeldt’s work, from that protruding shape that protrudes, hernia-like, from its cylindrical stand in the centre of the gallery, and the winding tubes of foam which split open like medical emergencies. Along a surface, are mounted photocopies of the works captured in multiple views: they look like microscopic invaders seen in scientific samples, or growths on a petri-dish.

“It interests me is the idea in our bodies happening that seem to hold a life of their own,” the artist notes. Phenomena which remain unseen or command.”

On the subject of elements beyond her influence, the promotional image promoting the event displays an image of water damage overhead within her workspace located in Berlin. Constructed erected decades ago and, she says, faced immediate dislike among the community since many old buildings were removed in order to make way for it. The place was dilapidated upon her – originally from Munich yet raised in northern Germany prior to moving to the capital as a teenager – began using the space.

This deteriorating space was frustrating to Herfeldt – she couldn’t hang her pieces anxiously risk of ruin – but it was also intriguing. Without any blueprints accessible, no one knew the way to fix the malfunctions that arose. When the ceiling panel at the artist's area got thoroughly soaked it gave way completely, the only solution was to replace it with another – perpetuating the issue.

At another site, Herfeldt says the leaking was so bad that a series of drainage containers got placed 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 totally dysfunctional body,” Herfeldt states.

The situation reminded her of a classic film, John Carpenter’s debut cinematic piece about an AI-powered spacecraft that develops independence. Additionally, observers may note given the naming – three distinct names – other cinematic works influenced shaping this exhibition. Those labels point to main characters in Friday 13th, the iconic thriller plus the sci-fi hit respectively. She mentions a critical analysis by the American professor, which identifies these surviving characters an original movie concept – protagonists by themselves to overcome.

“She’s a bit tomboyish, reserved in nature and she can survive thanks to resourcefulness,” says Herfeldt regarding this trope. No drug use occurs or have sex. Regardless the viewer’s gender, all empathize with the final girl.”

Herfeldt sees a parallel linking these figures to her artworks – things that are just about maintaining position despite the pressures they’re under. Is the exhibition more about cultural decay beyond merely leaky ceilings? As with many structures, substances like silicone intended to secure and shield us from damage are gradually failing around us.

“Oh, totally,” responds the artist.

Prior to discovering her medium in the silicone gun, the artist worked with other unusual materials. Previous exhibitions featured forms resembling tongues using fabric similar to found in within outdoor gear or in coats. Again there is the impression these peculiar objects might animate – some are concertinaed as insects in motion, others lollop down on vertical planes or extend through entries collecting debris from touch (Herfeldt encourages audiences to interact leaving marks on pieces). Like the silicone sculptures, these nylon creations also occupy – and breaking out of – cheap looking display enclosures. These are unattractive objects, and that's the essence.

“The sculptures exhibit a particular style that somehow you feel highly drawn to, while also they’re very disgusting,” Herfeldt remarks grinning. “It attempts to seem not there, but it’s actually extremely obvious.”

Herfeldt's goal isn't pieces that offer ease or beauty. Rather, she aims for uncomfortable, strange, or even humor. However, should you notice a moist sensation overhead as well, consider yourself the alert was given.