Her notable works include The Fourth Watch, Terrace 49, The Red Book, The Secret Story, Colors, Immer Zu, Lost Motion, and Clouded Sulphur.

Upon completion her BFA degree, Geiser began creating work as a visual artist, exhibiting her drawings and paintings in Atlanta art galleries.

By taking a job as the curator of a non-profit, multi-arts organization called Nexus, Geiser began to meet and collaborate with artists from many different fields, including music, dance, theater, and printmaking.

She created her first puppetry performance, Little Eddie, in the center's basement, and developed several works there under the name Jottay Theater, with puppeteers and musicians from Atlanta.

She collaborated as a designer with other theater artists, including The Talking Band (The Three Lives of Lucie Cabrol, 1988), Dick Connette (Half a World Away, 1989), and Mac Wellman and Travis Preston (Infrared, 1990).

An elliptical, experimental film that evokes a mysterious undercover world of secret messages, cryptic language, and indecipherable codes.

Mark McElhatten writes in the program for the 1998 New York Film Festival: “The dark-meshed moires of the memory book in its pulp fiction edition forms obsidian riddles that cut time to ribbons.

Life puts us in the critical condition of having to espionage with our own stolen recollection of events preserving them in a code often difficult to retrieve as it sinks into the limited access of the mental underworld.” And in Film Threat (1998): “Along with Kerry Laitala’s beautiful "Retrospectroscope" (already well-reviewed in a previous Film Threat), Janie Geiser's 9-minute short is one of the few shorts at this year's festival, experimental or otherwise, which deserves more attention than it's getting.

The mystery of the unknown is a major theme in the film, and the survivors are shown in a state of limbo, an ambiguous space between life and death.

Footage used in the film is taken from Disney's Dumbo (1941) and Peter Pan (1953), along with clips from the Godzilla movie Ghidrah, the Three-Headed Monster (1964), all of which contain the narrative of wayward children and separation from their parents’ world.

The footage was derived from the 1960s cartoon series Fantastic Four, and was clipped during the moments of imminent doom—a telephone dangling from its hook, a truck approaching the cliffside, ropes quivering from unseen tension.

Located at 504 Chung King Court, Automata is a center for “experimental puppet theater, experimental film, and other contemporary art practices centered on ideas of artifice and performing objects.”[13] Automata has a specific interest in creating intimate shows for their viewers, emphasizing personal interactions with the crowd and allowing for dialogue and communication between the performers and the audience.

At Automata, Geiser has teamed up with Erik Ehn, Trudi Cohen, Alma Sheppard-Matsuo, Severin Behnen, Jeanette Oi-Suk Yew, John Eckert and others.