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When considering bathroom renovations, it might be wise to steer clear of employing Lisa Herfeldt for such tasks.

Truly, she's a whiz in handling foam materials, producing intriguing artworks from this unlikely substance. But the more observe the artworks, the clearer one notices a certain aspect is a little off.

The dense tubes of sealant Herfeldt forms reach beyond their supports on which they sit, drooping off the edges towards the floor. The gnarled foam pipes expand before bursting open. A few artworks escape their transparent enclosures completely, turning into a magnet of debris and fibers. Let's just say the feedback would not be favorable.

At times I get the feeling that objects seem animated within a space,” remarks the German artist. Hence I turned to this substance due to its such an organic sensation and look.”

Indeed there is an element almost visceral in Herfeldt’s work, from that protruding shape that protrudes, similar to a rupture, from its cylindrical stand at the exhibition's heart, or the gut-like spirals from the material that rupture like medical emergencies. Displayed nearby, are mounted prints showing the pieces viewed from different angles: resembling squirming organisms seen in scientific samples, or colonies in a lab setting.

“It interests me that there are things within us happening which possess a life of their own,” she says. Phenomena that are invisible or command.”

Talking of elements beyond her influence, the promotional image promoting the event features a photograph showing a dripping roof at her creative space located in Berlin. It was erected decades ago as she explains, faced immediate dislike from residents as numerous older edifices got demolished for its development. By the time run-down upon her – originally from Munich although she spent her youth north of Hamburg prior to moving to the capital as a teenager – began using the space.

The rundown building was frustrating for her work – it was risky to display her art works anxiously potential harm – but it was also intriguing. Without any blueprints available, nobody had a clue methods to address the malfunctions which occurred. After a part of the roof in Herfeldt’s studio got thoroughly soaked it gave way completely, the single remedy meant swapping the panel with a new one – perpetuating the issue.

Elsewhere on the property, the artist explains the water intrusion was severe so multiple shower basins were installed in the suspended ceiling to divert the moisture elsewhere.

It dawned on me that the building was like a body, an entirely malfunctioning system,” the artist comments.

The situation evoked memories of Dark Star, John Carpenter’s debut cinematic piece about an AI-powered spacecraft which becomes autonomous. As the exhibition's title suggests given the naming – Alice, Laurie & Ripley – other cinematic works influenced to have influenced Herfeldt’s show. These titles indicate the leading women from a horror classic, another scary movie plus the sci-fi hit in that order. Herfeldt cites a critical analysis by the American professor, outlining these surviving characters a distinctive cinematic theme – female characters isolated to overcome.

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. Regardless the audience's identity, we can all identify with the final girl.”

Herfeldt sees a parallel between these characters with her creations – objects which only maintaining position despite the pressures they’re under. So is her work focused on societal collapse rather than simply dripping roofs? Similar to various systems, these materials meant to insulate and guard against harm are gradually failing within society.

“Absolutely,” she confirms.

Prior to discovering her medium using foam materials, the artist worked with other unusual materials. Previous exhibitions included organic-looking pieces using a synthetic material typical for in insulated clothing or in coats. Similarly, one finds the sense such unusual creations could come alive – certain pieces are folded as insects in motion, pieces hang loosely on vertical planes or spill across doorways collecting debris from touch (The artist invites viewers to touch and soil the works). As with earlier creations, those fabric pieces are also housed in – leaving – budget-style acrylic glass boxes. These are unattractive objects, and really that’s the point.

“These works possess a specific look which makes one highly drawn to, while also appearing gross,” Herfeldt remarks grinning. “It tries to be invisible, but it’s actually very present.”

The artist does not create work to make you feel relaxation or aesthetically soothed. Instead, her intention is to evoke discomfort, odd, maybe even amused. And if there's something wet dripping from above as well, don’t say the alert was given.