For the Festival, he has created a garden room in a swamp, built of slender poles connected by wire and draped with Spanish moss. Approached by a boardwalk and containing simple benches, it encloses a section of the wetlands, framing the cypress trees but otherwise open to the sky and water. Looking from the outside like a cube of moss suspended in the air, it was imagined as a meditative space in emulation of Japanese temple gardens. At the Gibbes Museum of Art, Gonzalez has created an installation of devil-like figures. At Magnolia Cemetery, a picturesque 19th century burial ground along the Ashley River, the artist has mounted a group of angels, animals and birds, and a caged feathered figure in the gate house, suggesting the Keeper of the title.
Corpus refers to the haunting assemblage of figures and crosses on the cemetery grounds.
The artist has crafted this imagery into a continuously active program that is projected onto four walls of a house on stilts, drawing the audience to move around the piece to fully experience its content. Initially based on images drawn from elaborate beadwork designs, Ndebele painting was soon incorporated into domestic and celebratory rituals. For the Festival, she has painted a vibrantly-colored patterned archway and mural at the entrance of the High School of Charleston to evoke a traditional tribal homestead. It is likewise suggestive of the intimacy and enclosure that is characteristic of Charleston's homes and gardens. Using long panels of white scrim and white grass paint, she has shaped yards around each cabin that lead across the axis of oak trees into a field of sweetgrass, currently cultivated for Charleston's African-American basketweavers.