as meditations on the transience and the ephemerality of life, the passage of time and its effects, and notions of beauty, eroticism and glamour. In the "Impersonations" works, whose titles reference masquerade and the role of surface in mapping identity, she explored her "unbridled urge to merge with unfamiliar and unknown," fusing with marble busts, statuary, Roman murals and decorative objects to take on a range of characters: Buddha, temptress, princess, king, gnome, monster. Critics described the photomontages as rich, sensuous, disturbing and primal in their ability to conjure deep psychic responses. Their unexpected transformations evoked the dichotomies of attraction/desire and repulsion/fear found in Gothic works like Mary Shelley's Frankenstein, which explore the violation of boundaries and natural laws. Theorist Victor Margolin called them "acts of disclosure rather than concealment," revealing a negotiation between inner fluidity and bodily limitation. The images often probed transgressive realms of the imagination at the edge of identity, as in Slice (2001), which effects an alternating, reciprocal exchange of feminine and masculine between Sensemann and a fierce Bacchus countenance on an Italian serving plate. "Dots" and "Nets" series Sensemann returned to more abstract art in the 2000s, with several bodies of large-scale, baroque works in which accumulations of small marks, dots, dashes or blips collide and overlap to create dizzying fields of complex patterns. Suggesting micro- or macroscopic investigations of disparate biological and social structures—cells, tears, stars, populations—the holistic surfaces maintain a fluctuating balance of definition and diffusion, qualities glimpsed in Sensemann's earlier "Sheer" and "Lace" series (1995–8) and fantastic landscapes, which also featured shallow spaces and concentrated patterning. In her "Goo" series (2003), she created works influenced by William Morris textiles, with expressionist calligraphic patterns or spontaneous flows of color suggesting primordial ooze. The "Night Sky" series (2005–7) featured more neutral, monochrome palettes and forms referencing constellations, sea life and human biology. An offshoot of that work was a show of large—up to 35 feet—realistic, but patterned drawings of natural and organic forms that some considered among Sensemann's most brave and intriguing work. The "Dots" series (2007–11), which includes paintings such as Solitary Pleasures (2016), extended her explorations of pattern to more colorful, oscillating forms reminiscent of flora, cells, or hives. With the "Indra's Net" (2016–8) works, she focused on skewed grid patterns of intricate net and lace-like arrangements, that ranged from organic to almost geometric and expressed a Buddhist visualization of interconnectedness and