where she would remain until 2010. After she and Hehemann had two children, Lucas (b. 1981) and Marah (b. 1985), Sensemann balanced the demands of motherhood, academia and art, continuing to show internationally and throughout the United States, including solo exhibitions at the Roy Boyd, Artemisia (both Chicago), Fay Gold (Atlanta) and Locus (St. Louis) galleries and the Evanston Art Center, among many. She also served as co-president and board member of Artemisia Gallery (1994–2001), where she co-created international artist exchange and mentoring programs, curated shows, and exhibited and lectured internationally on women's issues in art. Work and reception Sensemann describes her approach to art as "expansive, holistic, multi-focused, and non-hierarchical," and cites the influence of feminist artists such as Hannah Höch, Eva Hesse and Harmony Hammond, as well as Italian Renaissance painters like Caravaggio, Artemisia Gentileschi and Bellini. These influences manifest in her work's emphasis on visual and tactile sensuality and themes of indeterminacy, transformation, and what she calls "restless becoming." Architectural Abstraction In the 1970s, Sensemann focused on small egg-tempera and oil paintings of feminist archetypes such as Salome and Magdalene and "fantastic landscapes" of dense, brightly colored botanical imagery that flirted with both realism and abstraction. Her move to Chicago in 1979 inspired a shift to abstract, architectonic work that nonetheless suggested actual spaces. Often titled after mythological goddesses, the new paintings explored the spirit and psychological implications of austere interiors that symbolized the domain of women. Sensemann enlivened the spaces with ghost-like whorls or spirals that hinted at kinetic energy, "spiritual emanations" or traces from unseen or absent actors and encounters. She initially based the works on architectural forms she photographed on trips to Italy ("Tusculana" series) or Japanese art and kabuki forms, before turning to structures from pre-Renaissance paintings by Duccio, Fra Angelico, Giotto and Piero della Francesca in the "Annunciation" works (1983–4). Painted in reds, cranberries, tangerines and aquas, works such as Eguchi (1983) employed geometric organizations of architectural planes, light and shadow that created ambiguous space, yet anchored complex, scoured impasto surfaces described as "painstakingly textured, almost sculptural relief." Critic James Yood suggested Sensemann's "churning brushwork, intense colors, stippled surfaces, and abstract symbology" signified a pursuit of higher knowledge through the methods of modern art. Sensemann moved toward sparer geometric forms in later series such as "Shekina" (1989–90), whose title derives from a Hebrew word associated with feminine divine attributes. Alan Artner described