Since the 1970s, Ox has produced works in response to diverse musical sources, including Gregorian chant, the classical concert tradition and the sound poetry of Kurt Schwitters.
Trained in both visual art and musicology, Ox has over the past twenty-five years been developing mathematical systems for analyzing music and then 'recomposing' it in a language of her own invention.
"[5] Swiss art historian Phillipe Junod discussed Ox's work in his 1988 book, La Musique vue par les Peintres (Painters Look at Music).
[6] Junod describes the early projects in which Ox worked with the music of Bach, Stravinsky, and Debussy, before creating a cycle of paintings based on the eighth Bruckner symphony.
Ox analyzed the musical structure of the symphony [7] as the basis of artwork that would successfully translate the composer's score and sound into a visual medium.
To prepare the work, Ox executed numerous drawings from the score to create a visual translation using flexible but accurate equivalences that combine figurative and formal speculation.
The formal correspondences in these paintings emerge from a personal system that transcribes tonal relationships through a precisely calculated analogy between the color wheel and the circle of fifths.
Recalling not only Merz productions but the collaborative, intermedial aims of Fluxus and Dick Higgins's insistence on evanescent performance, the goal here, too, is creative renewal.
The largest and most important of such correlational projects is the planned full transcription of the 800-foot-long painting for the Digital Dome Theatre at the Institute of American Indian Arts in Santa Fe, New Mexico.