Her work has been faulted by one commentator, in a moment of mistaken moral certitude, for being a grotesque inversion of natural form, for trying to attain a kind of spurious tragic glamour in simple novelty.  Well, if lone is wrong, she is brilliantly wrong.  By working out these themes, the discordant echo and rhyme, the universal grimoire of human folly, in the unlikely medium of cast glass, lone has found for herself a counterpoint to the Fabergé existence of the glassblower.  Contrary to the seductively gaudy and licked surfaces of blown glass, lone's cast work slashes and lacerates; it does, after all, come out of a hellish heat; it is eternal, it is killingly hard.  And yet it is beautiful, the substance glass.

- from artists biography for Fragments and 2 partial reconstructions: eveything we know about the Tropocene, 2004




The body of work entitled Corrections which was shown in Ottawa, 2010, challenged some of the implications and consequences of human in- tervention in the natural world. As centerpiece, ‘Correction No.4: with root grafts’ is arresting in its incongruities: the striking elegance of the piece itself against the awkward inapposite choice of materials, the skill in the fabrication of the sculpture against the ineptitude and lack of judgement implicit in the imagined space out of which it arrises.  This piece is indeed a mon- ument to deracination and incongruity.

- from information sheet, Correction No.4, 2011