into being. Her stained glass works exude an aura of synthetic alienation and artistic necessity, eschewing ornamental excess and expression in favour of hermetic precision.

Her glass sculptures pull away from diagram or architecture, into something more fluid, sensuous, and alert. Cavataro works with soldered glass, a material often associated with containment—windows, partitions, ornaments. But here it behaves otherwise. It buckles, swells, strains against its joints. Some are made of transparent, colored glass that allows light to pass through; others are constructed from opaque glass that

withholds any view of the interior. Her works neither depict images nor objects in the usual sense; rather, we look upon suggestions—forms that resist figuration while remaining charged with life.