My primary works are site-specific installations that examine mark-making in sculptural space. Their torqued and jittery gestures, constructed with synthetic materials like mosquito netting and monofilament, delineate expanses of visual noise and noirish tension. Usually done in an intense few days, with much of the decision-making happening on site, the installations take a lot out of me physically and psychologically. In a concurrent series of collages, “Polyglot,” the switch to two-dimensional pictorial space engages a different set of aesthetic muscles. In these pieces, the scale is smaller and my approach more intimate; I sidle into the language of drawing by layering geometric, scuffed and smoky shards of translucent paper that are tethered to each other with meandering, suture-like gestures. -Gelah Penn, 2012
Buddy of Work 
Polyglot’s got some lean mean muscle. It moves back and forth a lot for something so flat, a move I’ve been trying to pull off with mixed results.