For the next twenty-some years, Eshel continued to hone marble slabs in her NoHo loft, which gradually became filled with spherical and totemic forms. Some works dotted the sand-lined rock garden she thoughtfully tended to at the center of the sprawling space. “I feel Zen along the sand waves in my garden of marble sculptures,” she continued, “criss-crossed by creating fissures in my work, along my Tao!”
Eshel left New York regularly for long art-making sejours in Carrara, supporting the trips by subletting her rent-controlled loft oasis.She took a camera with her, shooting her beloved quarries and the undulating, craggy rock formations. These images became fodder for collages when sculpture became too physically exhausting for the artist in the early 2000s. The collages, too, lined Eshel’s loft, along with reference imagery. In a 2007 video, a camera pans across photos of parrots, a gaseous planetary orb, and a painting striated with bands of deep umber, yellow, and green. They flutter above a bookshelf topped with bits of grooved coral, carved marble, lush ferns, and an arrangement of dried flowers cradled in the hollow of a bone.