Marsha Pels poetically recontextualizes found objects of power and politics. Cohesion in her works is achieved though this particular modus operandi, though not necessarily in subject matter. Her gutsy recent exhibit at Schroeder Romero, “Dead Mother, Dead Cowboy,” made a connection between the recent death of her mother and abandonment by her partner. Artworks within this exhibition included a fluorescent lit, crystal-clear casting of Pels’ mother draped in mink stoles, her ex-lover on a deconstructed motorcycle, and castings of her own hands made in her mother’s gloves. For lack of a better word, this personal and haunting expose on desire, loss and morning is brave—laying bare an honest, and witty personal narrative. Recently Marsha discussed her creative inspiration, and her in-depth thought process behind her recent sculptural series.