exhibition has travelled extensively. One of her public art projects, "Urban Garden" (2011), is a 27-foot high metal flowerpot, with flowers and moving petals, in downtown Seattle. The sculpture is also a kinetic water feature. In Reforestation of the Imagination (2018) she combined sculpture in glass and bronze with augmented reality, so that digital images of imagined creatures could be overlaid on sculptural works. Works Through the use of lampworking she has developed a distinctive style, creating glass sculptures, mixed media installations and works of public art that are known for being "opulent, figurative, richly colored and metaphorical". Ruffner's first solo exhibition was at Georgia Tech Gallery in Atlanta in 1984, followed by solo and group exhibitions at museums such as the Corning Museum of Glass; Museum of Arts and Design; Museum of Glass; Museum of Northwest Art; Renwick Gallery of the Smithsonian American Art Museum; Toledo Museum of Art; and Seattle's Traver Gallery, among others. Her work is in the permanent collections of the Bergstrom-Mahler Museum of Glass, Carnegie Museum of Art, Cooper-Hewitt Museum, Corning Museum of Glass, Detroit Institute of Art, Fort Wayne Museum of Art; Metropolitan Museum of Art; New Mexico Museum of Art; Seattle Art Museum, and the Smithsonian Museum of American Art. Her work is included in the United States Art in Embassies Program. She was profiled on the NPR show Weekend America on March 18, 2006. She was the subject of a documentary, Ginny Ruffer: A Not So Still Life (2010), which won the Golden Space Needle Award - Best Documentary at the Seattle International Film Festival that year. Personal life She married Charles Emory Nail in 1975, divorced in 1980, and married Robert Edward Ruffner later that year. Entering her thirties, Ginny Ruffner scored high enough on an IQ test to be accepted to Mensa and Intertel, two high-IQ societies. In 1991, Ruffner was involved in a life-threatening three-car collision. She was in a coma for five weeks. When she finally recovered consciousness, she could not speak, walk, or remember that she was an artist. Doctors doubted that she would walk or talk again. But after a year of extensive physical, speech, and vision therapy, Ruffner was able to return to work. She credits her recovery to being "stubborn and bullheaded". She spent the next five years in a wheelchair, but eventually was able to walk again. The accident left her with speech