Using expanded techniques, object preparations, and electronic processing she has re-defined the instrument’s capacities. Concurrently, Parkins self-designed a series of one-of-a kind electric instruments. She leans into the harp’s physical limitations pushing its boundaries and impossibilities. In her compositions, Parkins utilizes collections, recombination, historic proximities, geography, tactility, spatial configurations and movement. Sonic presence and personality is revealed in explorations of subtle frequency shifts, feedback, over and under tones, melodic fragments, timbral and gestural intervals, perception, and residues.