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  • While her formal vocabulary of columns, beams and slabs is heavily indebted to such artists as Donald Judd, Robert Morris, Carl Andre, Dan Flavin, John McCracken, Ronald Bladen and Richard Serra, her choice of graphite as a material (cast solid, kiln-fired, shaped into irregular geometric forms with saws and files, then hand-polished) contributes a sense of warmth, mutability and body missing from
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