Marsha Pels's installation was inspired by her visit to Botswana, Africa, and contains a 12' kayak covered with white goose wings, dismembered wax doll appendages, and encaustic organic forms splayed along its central axis. This disturbing tableau also contains a female "child-doll" sporting a huge rubber dildo and blowing a horn.

She hangs in space surveying the smaller bodies succumbed in the central ark, a grotesque exaggeration of Pels's earlier bronze asexual, archetypal putti. Pels employs the boat form metaphorically to conjure a body/landscape transgressing psychological and spatial boundaries while the doll, through material transformations from crystal and bronze, acts as a surrogate child. As a signifier of loss of innocence, Pels's "dolls" are aggressive but helpless - trapped by larger forces - be they nature or culture.