[9] Her debut New York solo exhibition at the project space No5A in 2013, The Studio Before 54, consisted of three large-scale paintings produced from the rubbings of various dry minerals, including graphite and iron glimmer.
Listed materials also included "the souls of the shoes of Nanette Lepore, Margiela, Clergerie, a half calf cowboy boot, a no name mule, a foot with foss mud.
[2] These materials are sometimes site-specific; for example, a series of paintings commissioned by the Whitney Museum of American Art in 2016 for its experimental five-part exhibition, Open Plan, in which she incorporated samples of water from the nearby Hudson River.
"[8] In his review of her 2013 solo show Cake 4 Catfish at David Lewis Gallery, Jerry Saltz described Dodd's "topographic" paintings as "two-dimensional animals with inbuilt chemistries, going through secret artistic caramelizations and painterly photosynthesis, converting liquids and semisolids into bliss.
The Genesis of a Painting remakes Picasso's catalogue "into a visual epic where Dodd, the hero, is joined by two companions of her own creation: a starfish, a symbol of nature's innate mirroring, and the Maize Mantis, a shepherd character loosely inspired by the King of Pop, Michael Jackson.
'[7] She considers her paintings "absorbent" of both the visible and the "invisible" conditions of their production, for instance the particular music Dodd plays in her studio; the "smoke, sage, copal, lavender, [and] cedar" she uses to "defume" her work; and the performers she enlists to "activate" an exhibition.
John Tyson describes one such collaborative performance, staged as the finale to her contribution to the Whitney Museum's Open Plan, as "equal parts Maurice Sendack's Where the Wild Things Are and Shakespeare's A Midsummer Night's Dream.