[1][7][8][9] Blumenfeld's art practice is described as non-traditional and research-based, where the artist has explored many fields and disciplines, including astronomy, geology, planetary science, ecology, environmental conservation, and cultural heritage.

[9] She went on to earn a Master of Science (MSc) in Conservation Studies (with Distinction) from University College London in 2014 with a thesis on preserving the natural, cultural, tangible, and intangible significance of the dark night sky and our view of the cosmos.

[6][11][12][5][17] The artist continued to build her own recording devices, which she describes as like a camera obscura, but one which disregards optical mathematics used to achieve proper focal length.

[17] Describing the artist's first major museum exhibition, Taylor wrote, "For all its sheer facticity and its reduction of photography (almost) to litmus paper, this work can nevertheless inflict that pang Roland Barthes associated with the punctum.

[6][9][10][18][20] Scholar and author Arden Reed wrote that in her Light Recordings work "[…] Blumenfeld has photographed nothing but natural phenomena... her project renounces the manipulation of the artist and the mediation of a lens—two things that have been central to photography from its inception.

By banishing style or "self-expression" and by suspending the editing work of the lens Blumenfeld exposes light directly to the recording surface, the tabula rasa.

[24] Art critic Franklin Sirmans states: "While Blumenfeld’s highly inventive strategies for making photographs are thoroughly of this moment, the physical structure of her finished pieces suggests an affinity with the early Minimalists.

In particular, her display of grids and serial images bears resemblance to the work of such ‘60s painters and sculptors as Robert Ryman and Donald Judd.

Yet Blumenfeld's interest in the grid goes beyond its use as a formal device, entering a realm of latent meaning that Judd and company would never have considered as part of their work".

[25] Curator, writer, and critic, Lilly Wei writes that Blumenfeld's work is more "informed by pluralism, hybridization and more syncretic orientations" than the artists the 50s, 60s, and 70s.

[30][31] Blumenfeld has described her concern for the impact of anthropogenic climate change, industrial toxic waste, and ocean acidification on global phytoplankton populations, with scientific reports then estimating 40% reduction.

[6][9][37][38] In response to what she saw as humanity's "loss of connection with the natural world that evolved us," she initiated The Polar Project, an ongoing effort to raise awareness of the environments of Antarctica and the Arctic through art.

[6][9][38] In that same year, Blumenfeld submitted her project to the International Polar Year to connect with other participating research teams, finding particular affinity with Interpolar Transnational Art Science Constellation (ITASC) and their effort to create a fully wind and solar powered mobile research base suitable for polar environments, called ICEPAC (International Catabatic Experimental Platform for Antarctic Culture).

[6][41][42][43] She was subsequently invited to be artist-in-residence and team member of ITASC and guest of South African National Antarctic Program (SANAP) during their 47th research season, embarking on the expedition in January 2009 for four weeks at SANAE IV Base and nearly two weeks crossing the Southern Ocean back to South Africa on the polar research vessel, the S.A.

"[47][50][51] Blumenfeld says she thinks of rocks as "scrolls of knowledge, passed down through the cosmic, planetary and geologic ages, that tell the story of primordial formation"[47] and that it is "through the study of astromaterials that we were finally able to correlate that we are made of stars.

"[50] After a two-year period of initial development and feasibility studies at the Astromaterials Research and Exploration Science Division at Johnson Space Center, Blumenfeld, and her team won a 3-year NASA ROSES PDART grant to proceed with creating the project.

[7][47][50] To produce what NASA refers to as "research-grade" 3D model of each rock, Blumenfeld and her team developed a methodology that incorporates three primary technologies: high-resolution precision photography (HRPP), structure-from-motion photogrammetry (SFM), and X-ray computed tomography (XCT).

"[52] The Astromaterials 3D website and custom web-based Explorer 3D visualization application was launched to the public on December 15, 2020, with 20 rocks, 10 from each of the Apollo Lunar and Antarctic Meteorite collections with additional samples to be added ongoing.