▁art ▁to ▁that ▁of ▁a ▁sculpt ure , ▁she ▁is ▁attempting ▁to ▁bring ▁sound ▁into ▁a ▁physical ▁plane . ▁Additionally , ▁in ▁works ▁like ▁chrom a , ▁she ▁inv ites ▁the ▁listener ▁to ▁w ander ▁around ▁and ▁explore ▁the ▁influence ▁of ▁physical ▁space ▁on ▁the ▁audience ’ s ▁experience . ▁ ▁Works ▁Be hind ▁the ▁Vel vet ▁Cur tain ▁( 1 9 9 1 – 9 2 ), ▁for ▁tr ump et , ▁har p , ▁piano ▁and ▁c ello ▁T rio ▁( 1 9 9 2 ), ▁for ▁clar inet , ▁viol on cel lo ▁and ▁piano ▁Mir ror , ▁mirror ▁on ▁the ▁wall ▁( 1 9 9 3 – 9 4 ), ▁for ▁piano ▁The ▁Under ▁Side ▁of ▁Green ▁( 1 9 9 4 ), ▁for ▁clar inet , ▁viol in ▁and ▁piano ▁Mol ly ' s ▁Song ▁ 1 — c rim son ▁( 1 9 9 5 ), ▁for ▁twelve ▁solo ists , ▁met ron ome , ▁wh ist le , ▁music ▁box ▁and ▁conduct or ▁Mol ly ' s ▁Song ▁ 2 — a ▁sh ade ▁of ▁crim son ▁( 1 9 9 5 ), ▁for ▁voice , ▁vi ola , ▁fl ute , ▁steel ▁string ▁guitar ▁and ▁short wave ▁rad ios ▁Mol ly ' s ▁Song ▁ 3 — sh ades ▁of ▁crim son ▁( 1 9 9 5 ), ▁for ▁alto ▁fl ute , ▁vi ola , ▁steel - string ed ▁guitar , ▁four ▁rad ios ▁and ▁music ▁box ▁Du o ▁( 1 9 9 6