The Astrophysicist & The Ant (diptych)
Acrylic on Canvas (50" X 48 ")
2000
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Carrigan states that this work "grew from the artist’s longtime association with her husband’s physics colleagues, who, as soon as they seem to have unraveled a thread or two of the gauzy fabric of reality, often find more questions await them.  While she watched an ant setting off on a journey across the street, she realized that their quests were similar only on a different scale.”  The texts are by the artist and read: (The Physicist) “Can I unveil the gauzy fabric of the stars?” and (The Ant) “Can I unveil he matted carpet of the earth?”

Il Cigno E La Sirena
Acrylic Film Painting (32-1/2" X 23-3/4")
2003
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This translates as “The Swan and the Siren” and might be said to echo two classical themes, common in renaissance and baroque art; “Leda and the Swan,” Leda being the lover of Zeus while he was in the form of a swan, and secondly the tale of the mythical sirens whose magic song enchanted sailors and led them to their doom.  However, in this work all enchanters seem mutually enchanted with one another to the point were the eyes of each totally mesmerizes the other.  Their infatuation seems to be giving off vast waves of energy in the form of embracing linear lines.  The drawing began while the artist sat near a lake in Italy watching swans swimming.

The Munny Mommie's Amazing Feat
Mixed Media (10" x 13-1/2" x 8-1/2")
1992
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Another rocking sculpture of which Carrigan states, “It addresses the feat of balance a working woman must exercise daily in her ability to walk the narrow line between the needs of her children and those of her job.  The woman walks the line on the balanced ball which must match the line on a bridge across the cradle.  If the cradle rocks she falls off.”

The Choreographers Dreams, #20
Drawing in Graphite and Prismacolor Pencil
(11" X 14")
1990
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The overlapping realms of space and form as seen by a choreographer.  In the creator's eye the dance can be seen either as art, or, as a scientist might see it, via an abstract series of measurements and properties.  The work is a study in the dualities of the points of view out of which a choreographer creates a dance.  The witty, quasi-scientific text reads: “No. 20 of 106, 993, 205,379,072 possible configurations using 13 equilateral triangles each of which may be colored red, blue, or yellow and oriented 'up,' or 'down,' 'left,' or 'right.'  Possible configurations for the dance are infinite as the Choreographer’s Dreams …”

A large wall sculpture, whose epic size suggests the breath of Titania’s magical powers, and also, the powers of love and nature.  The half-lit forest of Shakespeare’s “Midsummer NIght’s Dream” seems to echo the mystery of Titania’s incantation.  Her arms aloft gesture betokens both a blessing on the happy couples in the play but also suggest the fierce power of love. This majestic work seems a thing that might hang over the door of some great temple or theater in the manner of a sacred icon.

Truthseeker
Lino Cut and Collage (38" X 24")
1994
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A heroic figure consults his own reflection in what might be a magic mirror, a shield, or a plate, while behind his head hover eddy-like spirals which suggest galaxies. They seem to simulate the whirling of his thoughts. This linocut and collage work combines cutting and rubbing techniques for a unique look that echoes ancient Greek pottery and also looks forward to neo-cubist, Deco design. The combination of Ars Nova and Ars Antiqua is mixed with modernist preoccupations with the self and how our deepest thoughts reflect the energy and patterns of nature.

The dualistic nature of woman and mother is suggested by the global shape of the unborn child in Eve’s womb, suggesting the world coming into being, counter-pointed within the solid pyramidal shape of the hair of Eve, suggesting the solid base of the mother’s roll in the creation of the universe.  The figure’s pose suggests ecstasy or pain or both while the corona of light suggests an aura of divine purpose.  The fine engraved technique echoes artists of the Renaissance, which, considering the meaning of the word “Renaissance” (“Re-Birth”), seems singularly appropriate.