Many of Cricket Alexander's paintings begin with the construction of her models. Able to assume poses impossible for the human, the meticulously detailed dolls nevertheless become a metaphor for and extension of self.
Alexanders dolls began taking shape when she was just four, gradually developing their unique features as her construction skill and sense of aesthetic evolved. Even the first dolls were never ordinary. Then, as now, there were sometimes extra features, an additional head or leg, bodies conjoined like unfinished human twins.
The dolls then required setsspecial rooms, like miniature stage sets, correctly tailored clothing, and furniture created the fantasy of their lives. Her background in costume design is evident in the detail of the structures.
During several years living in Europe, she began to incorporate the dolls into her painting, eventually beginning a sequence that featured them almost exclusively. Her paintings today continue to reflect her stylized view of the human form, but the dolls now are optional, accessories she may or may not choose to include in the world she creates on canvas.