Ginger Wolfe-Suarez

[14] Wolfe-Suarez draws on the traditions of feminist sculpture, Latin American installation art, conceptualism, and minimalism in works that function phenomenologically to explore the perception of space and materials, body-object relationships, ephemerality, and negotiations of memory.

[2][4][13][15] Artforum reviewer Annie Buckley described her show at Ltd Los Angeles as one in which "the cerebral [was] incidental to the sensory," with subtle images, fleeting reflections and lingering scents indicating the intangible.

Reviewing her 2011 show, "Proximetric," critic Andrew Berardini wrote, “These works of art are not things to be perceived, but they are indivisible from the act of perception, the emotions and sensations they engender.

"[21] Wolfe-Suarez's shows “Theory of a Family” (Silverman Gallery, San Francisco, 2010) and "Both Are True" (Southern Exposure, Los Angeles, 2011) made similar use of disparate objects, sound and scent in tenuous relationship to body, space and memory.

[9][1] Los Angeles Times critic Sharon Mizota described them as "breathing, architectural monochromes" whose "light, shadow, volume and reflection play off one another, dissolving expected notions of space and carving out new ones," similar to the effect of a sunbeam on a room.

[1] In her most recent work, Wolfe-Suarez engages feminist and process-based traditions, using experimental materials such as wax, scents, and dyes extracted from ocean plants, saltwater and shells.