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When considering bathroom renovations, it might be wise to steer clear of employing the sculptor for the job.

Indeed, Herfeldt is highly skilled using sealant applicators, crafting intriguing sculptures from this unlikely medium. But as you examine her creations, the clearer you realise that something seems somewhat unnerving.

The dense strands from the foam Herfeldt forms extend over their supports supporting them, drooping off the edges towards the floor. The knotty tubular forms bulge until they split. Some creations leave their acrylic glass box homes entirely, becoming an attractor of debris and fibers. It's safe to say the reviews might not get positive.

There are moments I feel an impression that things seem animated within a space,” says the German artist. “That’s why I started using silicone sealant as it offers a distinctly physical texture and feeling.”

Indeed there’s something somewhat grotesque regarding these sculptures, from the phallic bulge which extends, hernia-like, from the support at the exhibition's heart, to the intestinal coils from the material that burst as if in crisis. Along a surface, are mounted photocopies of the works captured in multiple views: appearing as wormy parasites seen in scientific samples, or formations on culture plates.

What captivates me is the idea in our bodies taking place that also have a life of their own,” Herfeldt explains. “Things which remain unseen or control.”

Talking of things she can’t control, the poster promoting the event includes a photograph of water damage overhead at her creative space located in Berlin. The building had been built in the early 1970s as she explains, was instantly hated from residents since many older edifices were removed to allow its construction. It was already in a state of disrepair as the artist – a native of that city yet raised north of Hamburg prior to moving to the capital during her teens – began using the space.

This decrepit property caused issues for her work – it was risky to display her art works without fearing potential harm – but it was also compelling. Lacking architectural drawings on hand, no one knew how to repair any of the issues which occurred. When the ceiling panel at the artist's area was saturated enough it fell apart fully, the single remedy involved installing the damaged part – thus repeating the process.

Elsewhere on the property, the artist explains dripping was extreme that several drainage containers were installed above the false roof to channel the water to a different sink.

It dawned on me that the structure was like a body, a totally dysfunctional body,” she says.

This scenario reminded her of a classic film, John Carpenter’s debut movie from the seventies concerning a conscious ship which becomes autonomous. As the exhibition's title suggests through the heading – a trio of references – more movies have inspired impacting this exhibition. These titles indicate main characters in Friday 13th, Halloween plus the sci-fi hit respectively. She mentions an academic paper written by Carol J Clover, which identifies these surviving characters as a unique film trope – protagonists by themselves to save the day.

These figures are somewhat masculine, rather quiet enabling their survival because she’s quite clever,” says Herfeldt of the archetypal final girl. They avoid substances or engage intimately. And it doesn’t matter the viewer’s gender, all empathize with the final girl.”

The artist identifies a similarity linking these figures and her sculptures – elements that barely staying put despite the pressures affecting them. So is her work focused on cultural decay rather than simply dripping roofs? Because like so many institutions, these materials meant to insulate and guard from deterioration are actually slowly eroding around us.

“Completely,” she confirms.

Before finding inspiration with sealant applicators, she experimented with other unusual materials. Past displays have involved tongue-like shapes crafted from a synthetic material you might see on a sleeping bag or in coats. Once more, there's the feeling such unusual creations might animate – some are concertinaed resembling moving larvae, some droop heavily off surfaces or extend through entries gathering grime from contact (The artist invites people to handle and soil the works). Similar to the foam artworks, the textile works are also housed in – and breaking out of – cheap looking display enclosures. 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,” she says grinning. “The art aims for absent, yet in reality highly noticeable.”

Herfeldt is not making art to provide relaxation or beauty. Rather, she wants you to feel uncomfortable, odd, perhaps entertained. And if there's water droplets from above additionally, don’t say this was foreshadowed.