Holography

In the early 1980's while attending MIT in Cambridge, Massachusetts, Weber became fascinated with the dimensional quality of laser light. "It seemed to hang in space sparkling in the truest red I'd ever seen," said Weber. "I wanted to work with light, its effect on architectural space, and the internal resonance we feel for color as the essential nature of light itself." (This Side Up magazine, Netherlands, 10/2/2000)

Installations

The intuitive traditions expressed in world religions and philosophies understood the origins and relationships of nature and humans metaphorically, using traditional stories as a means to teach principles. My works deal with the elemental to address how we come to know what we believe to be true. They overlay one—the infinite—and another over time. Circling the void, all the fields of learning/knowledge form the perimeter of a circle/sphere looking into the center. There are no absolute means to define that emptiness/wholeness: each series come up with a unique language and path to touch that unknown. (Weber on her installations, 2021)

Works on Paper

In my digital photographs I play with bending time and space rather than light. These works offer a respite for the holographer from the complexity of the laboratory, allowing exploration by more direct means.

Public Art

Light touches our soul directly whether in the form of a sunny day or the brilliance of color. It creeps in and can catch one off guard by a purity that's disarming. In a world which is ever increasing the speed of life, I like to offer a place where there is neither time nor space, only an experience before words form. (Weber, This Side Up, 2000)