“The installation begins with rubber wires and circuitry suspended from the Sculpture Court ceiling. . . . converging into one central wire that leads into the gallery. Once inside, the main wire plugs into a tiny rubber ‘lamp’ equipped with a magnifying glass, which rests on a shelf along with three small . . . pieces of Styrofoam. . . . Positioned in the center of the room are biomorphic sculptures . . . actually enlarged copies of (the) discarded Styrofoam (which are) left over from the casting process.
Silverthorne’s . . . inquiry . . . reveals itself through her repetitive tactics. Her ongoing attempts to examine the space of the studio is apparent . . . in her title. Each sculpture . . . is not only a copy of some other image or copy, but also, to varying degrees, a reference to art historical precedents.
from “Jeanne Silverthorne: The Studio Stripped Bare, Again”, by Debra Singer