创作时，Cowan会降低作品的地位，将其定位为美学历史上的垃圾，然后再让它成为华丽抽象的化身；这样的理念颠覆了吸引与排斥二元论。她的作品在体现高档玻璃应当具有原创精神的同时，也借鉴了肉体组织在颜色和形状方面的特征。这种刻意为之的肉感经过Cowan多彩的色盘调色变得更加明显。色盘的灵感源于一度颇受好评、人们争相收藏的桃色釉玻璃和缅甸玻璃（一个美国发明，因其粉红色到奶油色的渐变色彩而与众不同）。作品由许多形状相似的个体不断重复和排列，从而构成一个整体，产生出强烈的肉感，让人恍惚于美与邪之间。

In her practice Cowan takes objects, currently relegated to the aesthetic dustbin of history, and reincarnates them into ornate abstractions, which question the dichotomy of attraction and repulsion.  While still containing the original spirit of the vintage glass, the well-defined characteristics of color and form reference corporeal tissue. Their intentional fleshiness is enhanced by Cowan’s color pallet derived from the once highly prized and avidly collected Peach Blow or Burmese glass (an American invention, distinctive for its gradated pink-to-cream color scheme). Using repetition and viral accrual of similar forms, her work is viscerally sensual, teetering between beautiful and sinister.