Utilizing a title that is both a noun and a verb, Skirts is a testament to the artist’s fluid and unformulaic process. Though her works appear effortless and forgiving of imperfections, they are the belabored products of an intuitive and technically fastidious approach, involving casting, painting, firing, carving, stacking, undoing and redoing with no predetermined endpoint. Her expansive approach to sculpture and materials is reminiscent of artists Shechet admires, such as Sophie Taeuber-Arp and Sonia Delaunay, whose work transcends the divisions of painting and sculpture and encompassed innovative multimedia practices, distinguishing their work from that of their male peers. Shechet’s title, Skirts, also reclaims misogynist slang. As if to counter this term’s reduction of women to passive things, Shechet’s unruly, polymorphous sculptures suggest that objects themselves are active and subversive.