carves into graphite pencil lead. An engine three-sixteenths of an inch tall. A locomotive the size of the instrument used to sign contracts. A portrait balanced on the tip of something you throw away.

But she will not stay in one material. Metal. Glass. Paint. Ceramics. Recycled materials. Large-scale sculpture. Most artists develop a signature language and live inside it. Cindy refuses that arrangement. Every piece asks the same question differently: what can attention do? What does labor look like? What can a hand actually make?

The pencil is the most overlooked tool on any desk. In Cindy's hands, it becomes useless for writing and transforms into something the system never intended: a monument. The skill is obvious. What holds you is the thinking underneath. The refusal to choose one material, one scale, one obsession.

This exhibition brings together the full range of her practice in one room. This almost never happens. Over a dozen pencil carvings. Metal work. Glass. Paintings. Sculptures. Recycled materials activated into art. You move between decades, between scales, between mediums. Watch how the logic stays consistent across all of it. That consistency across radical difference—that is the artist.