This juxtaposition between vulnerability and performance is likewise present in the figure of the conductor, a liminal figure who exists both inside and outside of the orchestra; as well as in images where figures lie on top of pianos, bodies pressed to the surfaces as if searching for the sound within, or attempting to merge with it. Throughout, Spindler captures the public and private dimensions of creativity, the simultaneous desire for connection and resonance, and then the counter - the dissonance, fragmentation and isolation - present in each act of making. In so doing, she explores the capacity art has for both quiet and force, fullness and emptiness, the ability to crack us open, to ease us apart and to soothe us shut.

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