The sculpture Manifold Destiny (1991) was a notable example—a hanging assemblage of yellow and pink plastic patio furniture stripping increasingly entangled in rusted car mufflers and snaking exhaust pipes that suggested entropy. Tema Celeste described it as a funny and frightening "Medusa in curlers … at once vulnerable and threatening, delicate and Herculean." In shows at the Corcoran Gallery of Art (1992), Horodner Romley (1993, 1994) and Serpentine Gallery (London, 1998), domestic materials—thread, buttons, zippers, totems of colorful, stiff shirt sleeves, and shower curtains—predominated in works that employed an abstract sensibility and more airy, intuitive forms of weaving.Sultan, Terrie. Reverberations: L.C. Armstrong, Michèle Blondel, Suzan Etkin, Lisa Hoke, Washington, DC: Corcoran Gallery of Art, 1992. Retrieved September 21, 2021.Melrod, George. "New York", Sculpture, March/April 1995, p. 38.Kent, Sarah. "Thread bare," Time Out (London), September 2, 1998. Heirloom (1994) consisted of skeins of colored thread that were tossed, fixed and installed in vertical fans of dense, lacy patterning across two corner walls, then connected by single threads to cast wax detergent bottle and household forms on the floor. Critics likened the 12-foot work's appearance to "a grandmother's unraveled afghan," sea corals or tangled hair and its calligraphic patterns and process to Abstract Expressionism, a debt referenced in the double meaning of its title.Zimmer, William. "From Unorthodox Material to Sculpture," The New York Times, March 13, 1994, Sect. 13CN, p. 20. Retrieved August 17, 2021.
