Our private spaces subsequently become extensions of us, reflecting and showing traces of activity, aesthetic tastes, and values. Selfhood stretches much further than the confines of our body, and includes an ever-growing collection of objects, decisions, and gestures that we choose to perform with. Through a variety of media that often culminates in installation, Weber explores the nuances of identity-making, and presents layered and compounded environments that bring this very issue to light. The artist often creates collages with materials that primarily function as bodily extensions such as synthetic hair, nails, and clothing. In this way, she takes a closer look at markers of femininity and presents these fragments as pieces of a whole. As if suspended in time, her compositions contain a whirlwind of representations, laid in front of us all at once. Weber recurrently uses self-portraiture within these collages as well, in an endeavor to simultaneously support but also challenge the idea of individuality by disseminating her own image. Her layered sculptures are shaped into recognizable objects that inhabit and mimic domestic spaces, furniture, pillows, and clothing hangers all comprised of these accesessorial assemblages.
Though at first site they may seem like snapshots, Weber works also incorporate the notion of origins and macro as well as micro histories. She presents cultural artifacts and symbols of pop-culture, both ancient and contemporary, within the same realm, in order to explore the phenomenon of cultural hybridization and the influence that our personal roots may have upon our current lives. As globalization spreads, the markers upon which one might identify themselves become more and more difficult to individuate. Weber work magnifies the detailed and elaborate symbols we use to perform our identities.