In her "Bone Scores" (2016) and "Void Weaves" (2017), Swartz created works of wire, paper, ceramic, nets and magnets that translated inaudible audio recordings (e.g., of breathing, a Geiger counter, a rainstorm, fireworks) into vibration and gesture. Within each work, coiled wire carrying electrical current stimulated magnets to produce periodic shudders and vibrations that Marjorie Welish wrote, were "dissonant with respect to the loveliness of the visual elements as initially encountered."Welish, Marjorie. "Wired for Sound: Julianne Swartz at Josée Bienvenu," Artcritical, December 30, 2017. Retrieved May 8, 2023.
