modest-sized, single-sheet drawings made in charcoal that, while still personal, were also informed by imagery drawn from poets such as Wallace Stevens and Robert Kelly, philosophy and psychology. She relinquished the need to start with a structuring house image, instead taking an approach that upended seemingly fixed, opposed constructs like inside and outside, influenced by the fluid, non-Cartesian conception of space and events posited in Deleuze's The Fold: Leibniz and the Baroque. These ideas were compatible with her interest in portraying shifts in thought and emotion, mysterious and portentous narratives, and movement in time rather than static scenes; the resulting works, including her "Inside the Monad" series, synthesize landscape, architecture, interiors, objects and weather elements. Critic Dominique Nahas described such drawings (e.g., With head shorn, she listens to the sleeper sleeping away the dream and dreaming the lives of acquired wisdom, 2002), as delicately detailed, intensely private, charged vignettes and "incantatory revelations" that "suggest the flitting of intertwined memories." Mature drawings (2005– ) Beginning in 2005, Schulz shifted to large-scale, intricate charcoal drawings composed of multiple sheets that she often tore, folded, bent and distressed, reshaping and disrupting the picture plane. These black-and-white works drew on diverse imagery and extensive reading, and increasingly, linked personal experience to collective, often-traumatic experiences, such as 9-11, Hurricane Katrina, and the assassination of Martin Luther King Jr. They employ a careful blending of charcoal and delicate erasure that interweaves vignettes of haunted landscapes and elegant interiors intruded upon by war and natural disasters amid the folded terrain, low relief and untouched voids of the paper. Schulz's surfaces function like screens onto which she projects and layers beliefs, emotions, and potential realities or parallel worlds to form purposefully disjointed narratives that suggest a contemporary psychological index; the language poetry-like titles she composes mirror the juxtaposition of visual elements. A 2010 Village Voice review describes her work as conveying complex moods moving between comfort and fear rather than clearly delineated narratives, and counts it among a "renaissance in the realm of the fantastical" for realist drawing. Formally, these later drawings explore tensions between real and illusionist space and the sculptural potential of paper, often taking on non-rectangular, object-like configurations that suggest physical, dynamic forces at play. Schulz created the eight-panel drawing The Maximum of All Possible Hate Is Realized and We Cleave to Our Screens as It Unfolds in That Disquieting Way (2005) in response to