Her work's overarching Pop ethos references the body in landscape; her most recent paintings veer toward figuration, with recognizable body parts populating what remains an essentially abstract arena. Following on the heels of her Heads and Tales show of reductive portraiture in 2015 at Espacio 20/20 in San Juan, Puerto Rico, Church's latest work leaves the head behind to focus instead on other parts of the body, specifically arms, legs, and hands. Some of these paintings evince the feel of the seashore and were in fact drawn from photos of friends sitting by the ocean. An intimation of the horizon line is often present, as is an intangible eroticism. The tube paintings—hands holding paint tubes aloft—are more self-referential, conveying a totemic artist-in-the-studio sensation of isolation and excitement at once. The distortion of the figure in all the works is mitigated by their sunny Pop sensibility.