This work speaks to how chaos can become a celebration of imperfections, as asymmetry reigns and compositions are guided by instinct rather than rigid rules. This echoes the vibrant energy of a blossoming garden and beckons viewers to immerse themselves in the unbridled charm of nature's handiwork. It's a delightful reminder that beauty can be found in the disarray, and that the allure of Kiertzner’s work lies in her ability to capture the very essence of life's organic and ever-changing forms. 
 
As a native to Southern California's Inland Empire, the Claremont village has served as a source of inspiration for Kiertzner’s work. As a New England-style university town with pedestrian-friendly tree-lined streets, and an east coast ambiance, the area has a rich artistic history of fiber artists stemming from the arts and crafts movement rooted in California's citrus industry. Kiertzner follows suit as she connect with exterior spaces that store internal memories of exploration, discovery, and awe.
 
Artist Review 
“As an artist attending Fullerton College, I quickly learned that you’re encouraged to find your own voice. I knew that I wasn’t strictly an abstract painter, or a sculptor.  I didn’t respond to the rigidity of one form or focus. I was more concerned with the hierarchical and patriarchal histories inherent in the making. As a Native American Indigenous artist, I knew that the intrinsic value of the work was important. I didn’t want to make work that was easily reproducible, and it needed to stand alone within its spirit.  At the same time, I was excited by the juxtaposition of colors familiar to my generation. Highly saturated, vibrant colors of the 80’s that brought about a playful mood to the focus of natural subject matter. So, I arrived at experiments that changed material, medium and processes to fit my narrative. Today, I feel more connected than ever with how fiber transforms its condition in shape, color theory and texture. How, fiber, alongside expressive thick paint, builds a sculptural element, as free-floating lines on top of the paint can be a sort of anchoring point and appear like the lenticular affect as you move around the work.  How working in embroidery fiber, alone, can generate new optical mixing, as it is woven and animalistic and ephemeral.”