Disbrow’s work is very much influenced by the human body and how it relates to and operates within our cultural context. Her bodily interests also reside in how the body is made, how it is maintained and how it degrades. In her two-dimensional work, she uses the additive elements of serigraph, ink, and collage, and often employs subtractive methods of cutting and embossing; repetition and rhythm act as her guide. In her three-dimensional work, she uses building materials, foams and plaster, to alternately build up and strip away forms until she reaches a desirable state. The resulting work is contrastingly familiar and foreign, disconcerting yet oddly gratifying.