Porcelain electrical towers sprouting vegetation (Industrial Flowers, 2011), handguns sculpted from sugar (“My Dad’s Gun Collection” 2002-), and videos of flocks of airplanes overwhelming the skies (Flock, 2011) figure among Susan Graham’s diverse oeuvre. These and other works, many born out of personal memories and fears, depict the struggle between nature and technology and express her ambivalence toward weapons. “The gun sculptures I make are lacy, white, and light—exactly opposite in appearance to the pistol my brother found hidden in Mom and Dad’s bedroom one afternoon,” she explains of one of her series. The centerpiece of a recent exhibition, an installation of intricate sugar sculptures titled “Toile Landscape” (2011) reinterpreted the charming pastoral scenes traditionally printed on Toile de Jouy—an intricate French upholstery technique. In Graham’s version, invented flora are interspersed with industrial structures in an attempt to reconcile nature and technology.