Then there are the works that defy classification, of which there are not enouch to establish a genre. Wall pieces, vessels and one-off sculptures, they share the same DNA, similar narrative thrusts, a common visual vocabulary: bones, branches, hearts and ladders. From the grandeur of Synecdoche, a 15 foot high installation for the Curator’s Wall at the Harwood Museum, to pieces exploring Deborah’s Converso heritage, to the diminutive Corazon with it’s crypto-Jewish secrets, these works expand, while they remain within, the boundaries of her oeuvre.