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If you're planning bathroom renovations, it might be wise to steer clear of hiring Lisa Herfeldt to handle it.

Indeed, she's an expert in handling foam materials, producing compelling creations with a surprising art material. But longer you observe these pieces, the more you realise that an element is a little off.

Those hefty tubes from the foam she produces reach past display surfaces on which they sit, drooping over the sides towards the floor. Those twisted tubular forms swell till they rupture. Certain pieces escape the display cases fully, turning into an attractor of debris and fibers. It's safe to say the ratings are unlikely to earn positive.

At times I get an impression that items are alive within a space,” says the sculptor. Hence I came to use silicone sealant because it has a distinctly physical sensation and look.”

Indeed there is an element almost visceral in these sculptures, starting with that protruding shape that protrudes, hernia-like, off its base within the showspace, and the winding tubes from the material which split open resembling bodily failures. Displayed nearby, the artist presents photocopies of the works captured in multiple views: appearing as wormy parasites picked up on a microscope, or colonies on a petri-dish.

“It interests me that there are things in our bodies occurring that also have a life of their own,” she says. Elements that are invisible or command.”

Talking of unmanageable factors, the poster promoting the event includes a photograph of water damage overhead within her workspace in Kreuzberg, Berlin. The building had been erected decades ago and, she says, faced immediate dislike by local people because a lot of old buildings were torn down in order to make way for it. The place was run-down as the artist – a native of that city yet raised in northern Germany before arriving in Berlin during her teens – began using the space.

This decrepit property proved challenging for the artist – it was risky to display the sculptures without concern risk of ruin – however, it was intriguing. Lacking architectural drawings available, no one knew methods to address the problems which occurred. When the ceiling panel within her workspace was saturated enough it fell apart fully, the sole fix involved installing the damaged part – thus repeating the process.

In a different area, Herfeldt says dripping was extreme that several shower basins were set up in the suspended ceiling to divert the moisture elsewhere.

I understood that the structure was like a body, a totally dysfunctional body,” she says.

This scenario reminded her of the sci-fi movie, the director's first cinematic piece concerning a conscious ship that takes on a life of its own. Additionally, observers may note from the show’s title – Alice, Laurie & Ripley – more movies have inspired to have influenced this exhibition. These titles refer to the leading women from a horror classic, Halloween and Alien in that order. The artist references a critical analysis written by Carol J Clover, that describes these “final girls” an original movie concept – female characters isolated to triumph.

These figures are somewhat masculine, reserved in nature enabling their survival thanks to resourcefulness,” says Herfeldt regarding this trope. They avoid substances or have sex. It is irrelevant the viewer’s gender, all empathize with the survivor.”

The artist identifies a similarity linking these figures to her artworks – objects which only holding in place despite the pressures affecting them. Is the exhibition more about cultural decay beyond merely dripping roofs? Similar to various systems, substances like silicone intended to secure and shield us from damage in fact are decaying around us.

“Completely,” says Herfeldt.

Before finding inspiration with sealant applicators, Herfeldt used different unconventional substances. Past displays have involved tongue-like shapes using fabric similar to found in in insulated clothing or apparel lining. Again there is the sense these peculiar objects seem lifelike – certain pieces are folded as insects in motion, some droop heavily on vertical planes or extend through entries collecting debris from touch (The artist invites viewers to touch leaving marks on pieces). Like the silicone sculptures, those fabric pieces also occupy – and escaping from – budget-style acrylic glass boxes. These are unattractive objects, which is intentional.

“The sculptures exhibit a certain aesthetic which makes one very attracted to, yet simultaneously appearing gross,” Herfeldt remarks grinning. “It tries to be absent, yet in reality very present.”

The artist does not create pieces that offer comfortable or visual calm. Rather, she aims for uncomfortable, awkward, maybe even amused. But if you start to feel something wet dripping from above as well, remember this was foreshadowed.