Through sculpture and multimedia installations, Marsha Pels transforms found objects into “poetically charged psychological landscapes,” as she describes. Many of her pieces combine elements of personal experience with larger socio-political issues. In Dead Mother, Dead Cowboy (2008), for instance, Pels turned her suffering from the loss of her mother and being left by her partner into a broader statement on gender-driven stereotypes and symbols of sexual power; the work was a haunting mixed-media installation of furniture, artifacts, and a skeleton in a bed. Similarly, throughout the exhibition “Detroit, Redux” (2012), the artist reflected on her two years in the titular city, linking her personal debilitation (she was recovering from an accident at the time) to its decrepitude. In To Fly, To Drive (2009-11), for instance, a pair of airborne winged dogs (made from resin and fiberglass with fluorescent lights) is held back by chains that tether them to an old car engine.