Reassigning the object as subject matter, Door (2015) announced my entrance into abstract object-sculpture. Mounds of soft, rectangular forms (red in color, vinyl in material) were piled and slumped against the wall—evoking residue of woman without the direct implication of either. Reacting to gravity and the sewing discipline, Door’s energy filled the room with metaphor to body and women. Here I found artistic liberation by sidestepping direct associations of the body.