[2] She began focusing more on using text rather than figures in her paintings (such as in her ‘Peripherique’ (1988) and ‘Room for error’ (1993) series) and then in the 1990s switched to experimenting with film as a more effective medium for her political and environmental commentary.
Art critic Andrew Frost said it suggested impending global catastrophe: "Like much of Norrie’s work, Undertow invoked a sense of the uncanny, produced in part from the projection of these images at great scale.
"[4] Norrie's 2003 work 'Passenger', created for the Museum of Contemporary Art Australia, juxtaposed images of New Zealand glow worm caves and insect swarms with scientific experiments and industrial ducts on six-screens.
"[3] Her 2005 smaller single-channel work 'Black Wind' commissioned by the Amsterdam Sinfonietta [nl] combined indigenous descriptions of the fallout from the British nuclear tests at Maralinga and footage of the Aboriginal Tent Embassy.
[5] Media and communication professor Larissa Hjorth described the latter work as: "a meditative contemplation on the terrible sublime of environmental disasters in which humans, while causing such crises, have little power to control and correct.