[6][7] After taking a job with designer Michael Leva and having already begun producing and selling her own line Iota through an East Village boutique, she moved to New York City.
[citation needed] Chamberlain's work includes large-scale drawings of early modernist interiors made in ink on a material known as "vintage tracing cloth" that was developed around 1910 to be used as an architectural drafting paper.
"[14] Artforum's Nuit Banai notes the work's "double dynamic" of disavowal and confirmation[2][13] while Art in America's Aimee Walleston sees the work as posing questions, "The art is an unadulterated exaltation of Modernism—yet its absence of figures induces viewers to wonder: did fantastic things really happen here?
In 1992, she began singing and writing music with artist[19] and composer David Abir[20][21] whom she met at a summer program in Philadelphia when they were both in high school: Their band's name was (SIGH).
Other members included Suzanne Thorpe and Sean Thomas Mackowiak of the band Mercury Rev, and they released an EP called (Almost) Nothing Yet on Stickshift in 1998.
[23] Chamberlain also sang with a light-and-sound performance art group called The Infant Reader, also with David Abir.
"[29] In "Making Love in the Sunshine," for example, the band "request[s] your presence in the bathroom / When the music stops," and in "The Artist's Lament," Maxi croons "I want your vagina around the head of my prick.
"[25] The band has played a number of times in New York City and London,[30][31] and released two albums, A Message to mMy Audience, their first full-length effort in 2004,[28] and Strange Sensation in 2007.
The work features, among others, the song "The Love I Lose," the first part sung by Giselle after she is fired from one job and runs errands in Culver City, the second by Maxi in his dressing room before his resignation press conference.
He continues, "It's as though Smit takes the premise of a mockumentary such as This Is Spinal Tap, then gives it the density and even subtle conherence of good contemporary art."
Art critic John Haber wrote that he found the work "hilarious," declaring it both "less pretentious" and "more coherent" than a Matthew Barney epic cycle.
[36] Her clients include Coach, Gary Graham, Uniqlo, Gap,[citation needed] and sweaters for Rebecca Taylor and Lou & Grey.