Even at an early age, CSK's artistic proclivities were apparent. While contemporaries preferred bold bursts of bright color and abstract forms, CSK always displayed a more spartan approach to her craft. Canvases were left mostly barren, the bleakness punctured only by a simple brushstroke or two. Occasionally a completely blank painting was offered forth in a derring-do of social commentary: the viewer was left to contemplate the absurdity of imparting meaning to a naked, virgin canvas. Her series of paintings in which a heavily coated brush head was violently and repeatedly pressed onto the medium like a drill is thought to capture her rejection of the pointillism en vogue with her peers at the time.
CSK's intense devotion to experimental art extended into the realm of performance. She viewed the catcalls about the danger of her more avant garde approaches and pieces as misguided and childish. Public viewings of her work often included sideshows in which the artist herself consumed paint by the fistful. By demonstration, art could never be dangerous.
Her inspiration was rarely clear. When asked, she would sometimes say her only aspiration in life was "Bunga," the term itself belaying a philosophy that was orthodox only in its rejection of orthodoxy. A self-produced documentary about the artist's childhood ended controversially with the protagonist fading out of view while whispers of snow revealed a sled emblazoned only with the word "Penny."
