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When considering washroom remodeling, it might be wise not to choose engaging this German artist for such tasks.

Certainly, she's an expert in handling foam materials, creating fascinating sculptures out of an unusual substance. Yet as you look at the artworks, the stronger it becomes apparent a certain aspect is a little off.

Those hefty strands from the foam Herfeldt forms reach over the shelves supporting them, hanging over the sides to the ground. The gnarled silicone strands swell before bursting open. A few artworks escape their acrylic glass box homes entirely, becoming an attractor for dust and hair. Let's just say the reviews might not get pretty.

There are moments I feel this sense that objects possess life within a space,” states Herfeldt. “That’s why I came to use this foam material as it offers a distinctly physical texture and feeling.”

Certainly there’s something somewhat grotesque in these sculptures, from that protruding shape jutting out, like a medical condition, from the support in the centre of the gallery, to the intestinal coils from the material that burst as if in crisis. Displayed nearby, are mounted photocopies depicting the sculptures captured in multiple views: they look like wormy parasites seen in scientific samples, or growths in a lab setting.

What captivates me is the idea in our bodies occurring which possess independent existence,” she says. Phenomena you can’t see or control.”

On the subject of unmanageable factors, the exhibition advertisement promoting the event features an image of the leaky ceiling at her creative space in Kreuzberg, Berlin. It was made in the seventies and, she says, faced immediate dislike among the community because a lot of older edifices got demolished in order to make way for it. It was already run-down upon her – who was born in Munich although she spent her youth north of Hamburg then relocating to Berlin during her teens – began using the space.

This decrepit property proved challenging to Herfeldt – placing artworks was difficult the sculptures without concern they might be damaged – yet it also proved compelling. With no building plans available, it was unclear the way to fix the malfunctions that developed. After a part of the roof in Herfeldt’s studio was saturated enough it collapsed entirely, the sole fix involved installing it with another – perpetuating the issue.

In a different area, the artist explains dripping was extreme that a series of shower basins were installed above the false roof in order to redirect the moisture elsewhere.

“I realised that the building was like a body, a totally dysfunctional body,” the artist comments.

These conditions evoked memories of Dark Star, the initial work 1974 film about an AI-powered spacecraft that develops independence. As the exhibition's title suggests given the naming – Alice, Laurie & Ripley – more movies have inspired to have influenced the artist's presentation. The three names point to main characters in Friday 13th, the iconic thriller and Alien respectively. She mentions an academic paper written by Carol J Clover, which identifies the last women standing an original movie concept – women left alone to save the day.

“She’s a bit tomboyish, on the silent side and she can survive due to intelligence,” the artist explains about such characters. “They don’t take drugs or have sex. And it doesn’t matter the audience's identity, we can all identify with the survivor.”

She draws a connection linking these figures to her artworks – things that are just about maintaining position despite the pressures they face. Is the exhibition really concerning cultural decay beyond merely leaky ceilings? Because like so many institutions, such components intended to secure and shield us from damage are actually slowly eroding around us.

“Completely,” says Herfeldt.

Prior to discovering her medium using foam materials, Herfeldt used other unusual materials. Recent shows featured organic-looking pieces using fabric similar to you might see within outdoor gear or inside a jacket. Once more, there's the impression such unusual creations could come alive – certain pieces are folded like caterpillars mid-crawl, some droop heavily off surfaces blocking passages collecting debris from touch (The artist invites viewers to touch and dirty her art). Similar to the foam artworks, those fabric pieces are also housed in – leaving – budget-style acrylic glass boxes. They’re ugly looking things, and really that’s the point.

“The sculptures exhibit a specific look that somehow you feel very attracted to, yet simultaneously appearing gross,” Herfeldt remarks amusedly. “The art aims for invisible, yet in reality highly noticeable.”

The artist does not create art to provide ease or beauty. Rather, she wants you to feel discomfort, strange, maybe even amused. And if there's water droplets on your head as well, consider yourself this was foreshadowed.