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Her work centers almost entirely on Africa.
Her work centers on the body and clothing; her two bronze sculptures — one a mask with the words "It is a Lonesome Glee" cut out of it, the other a perforated figure whose simultaneous absence and presence respond to Dickinson's poem that starts "Dust is the only Secret/Death, the only One" — feel uncharacteristically restrained.
Her work centers on a variety of case studies of private associations throughout the world but is tied to the mainstream methodologies in the social sciences through her use of game theory and related analysis.
Much of her work centers around lesbian identity and women's desires.
Drawing inspiration from the absurdity she sees in societal norms, much of her work centers around issues of female identity.
A major theme in her work centers around confronting your demons head on, and using that pain and fear to your advantage.
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Her work centered on improving the lives of women, building a sustainable relationship between people and the land and education.
Her recent work centers on the effort to ward off "the evil eye," and includes her 20-foot assemblage, "Contro Il Malocchio" (Against the Evil Eye), on display in "Immigration and Expectations," an exhibition at the Paul Robeson Gallery on the Newark campus of Rutgers University.
Her entrepreneurial work centers on social innovation, social justice, sustainability and developing a line of sustainable apparel at www.polymathapparel.com.
Some of her earliest work centered on physical challenges, like stabbing 20 knives between the fingers of her outstretched hands (Rhythm 10, 1973).
But her actual work centered on catering to Mrs. Marcos's social and personal needs.
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