These works cover a formidable era for the artist of things best left unsaid. Recovering from several miscarriages the last miscarriage caused in the throws of domestic abuse, both predicaments a woman finds herself in reaches for the easiest tool to cope in society to move on: silence in not telling.  Domestic abuse it’s not supposed to happen to a strong woman independent in thought, miscarriage it’s not supposed to happen to a woman in child bearing years. There is no reward for telling, when society thinks they know it all; stereotypes they cling to, stereotypes to make a woman wear even when that dress doesn’t fit. In self-imposed silence the artist took off to another country to find an unknown landscape that called to her in dreams, a landscape she had never known: arid deserts called to her to converse. These works bridge the gap from child loss and it’s decay and silence to desert confessions in the valley known as Death.

These works again saw the artists use of other mediums Madonna using the heavy iron powder treated to turn to rust on the surface of her work as she had done so before in her works Preservation, symbolizing decay in a vessel corroded. In Golden Angel she uses gold for its value and truth.

The piece depicts the artists entrance into the desert valley and taking off shoes make of fake gold to reveal inside pure copper; a metal which conducts electricity efficiently, weather storms and endures. Her foot and handprints left behind reveal the copper she was always made of her fortitude. Her first steps into the wild she walks as animal free to be submersed in nature and reveal all that she is. Fragments of paper similar to the fragments of paper left behind from wagon trails that crossed this very same valley, words of hope to a new life and words of the life she left behind.