Project Space (2015). Schulz has taught at Parsons School of Design since 2000. Work and reception Schulz indicates that two foundational interests have structured her art: space and narrative. Influenced by philosophers exploring malleable conceptions of space and time, such as Gaston Bachelard, Gilles Deleuze, Henri Bergson and Elizabeth Grosz, her work conveys multiple, proliferating views and a cinema-like temporality. She draws on personal history, art and poetry, news events and collective experiences for imagery; her early work was more personally focused, while since the mid-2000s, she has linked the personal with public and geopolitical issues such as the nature of violence and hatred, tragedy, terrorism and war, and the environment. Schulz's drawings evolve intuitively, often beginning with ideas from reading, which she develops in sketchbooks before rendering small sections of an image at length, often without a predetermined plan. Her delicate charcoal drawing technique has been noted by New York Times critic Benjamin Genocchio, among others, for its close observation and painstaking detail, heightened level of finish, and control of the medium's capabilities. Early paintings Schulz's early oil paintings arose out of the dislocation she felt following her parents' divorce and move to the alien suburban sprawl and tropical life of Florida. These large works explore memories, charged emotions and relationship to place, using a recurrent, intimate metaphor of a house set in suburban landscapes to represent the human psyche. In an effort to break from a single perspective format, Schulz reshaped styles and spatial treatments of the past—drawing on sources from Cezanne, Cubism and Giorgio de Chirico to traditional Chinese landscape painting and the early Renaissance (e.g., Giotto)—to create personal, contemporary statements. They employ subtle shifts between maze-like interiors and suburban scenes to create fictionalized, cinema-like narratives, informed in part by her reading of Bachelard's phenomenological work The Poetics of Space. Curator Henry Geldzahler wrote that multi-view paintings like A Room of My Own suggest the complex ways we experience architecture through "an original amalgam of aspects of Futurism and American Surrealism." Other critics compared Schulz's stairways leading nowhere, unexpected doors and dreamlike, tilted rooms—in that work and others, such as Persephone's House With a Chimney (1995)—to the psychological architectures of 18th-century Italian visionary Giovanni Battista Piranesi's fantastical Carceri prison etchings. Early drawings (1999–2005) In the late 1990s, Schulz moved to Boston (and subsequently, Brooklyn). Finding herself in a crowded urban setting, with less workspace, she turned to