Employing a variety of disciplines, Doyle explores the beauty and power of natural systems, and question human relationships with nature, with preservation, and, increasingly, with the prospects of climate change. She uses mostly materials that she found or that have been thrown away, recycled, or donated. There is an irresistible poetry to upcycling that fascinates her.


Doyle makes sculpture from a massive New Hampshire oak tree that began its life in the Civil War, came down in a storm, and was destined for firewood. Taking thin slices from this tree, she initiates conditions in which natural forces create the forms, while she respectfully intervene and collaborate with those forces. The work continues to lead her into awe and questions about what constitutes a balanced human place within those systems of nature.


Steel cradles for the sculpture come from the local scrap metal pile. Doyle collects roots, driftwood, and bittersweet vines and have them cast in bronze. During the hours spent sanding, varnishing, or oiling the slices of end grain, she sees in the oak rings and rays a version, a fractal of the Big Bang: the origin in a tiny point, spreading out in rings and rays, to a magnificent maturity.


Doyle makes larger works and installations out of cast-off or recycled materials: felt made locally from recycled soda bottles, fallen trees and branches, musical instruments fashioned from found things. She asks visitors to engage with a question and leave a message or commit to an action. The messages are often deeply personal, sometimes shocking. Doyle hopes to contribute to dynamic reflection and change. 



Art…might be partially defined as an expression of that moment of tension when human intervention in, or collaboration with, nature is recognized.

 Lucy Lippard, Overlay, 1983