Her practice has moved from responsive, wearable sculpture toward larger sculptural and community-based projects — a shift that traces a broader arc in her thinking, from the body as a site of technological augmentation to the body as an ecological one: porous, cyclical, and entangled with other living systems. Across this evolution, Webster's central concern has stayed constant — the body in context — while the context itself has widened, from circuitry and computing to soil, seasons, and the social fabric of community.

Her current work turns toward menopause as a site of ecological and sexual transformation rather than decline. Working sculpturally and collaboratively, Webster treats menopause as a threshold experience that mirrors the wider ecological thresholds we are all living through: change, depletion, adaptation, and unexpected forms of renewal. These sculptural and community projects create space for conversations about menopausal sexuality that are rarely held in public — bringing what is often private, medicalized, or silenced into shared, embodied, communal form. The work asks what it might mean to age, desire, and change within an ecology rather than against one.

This has meant a deliberate step back from the interdisciplinary, tech-facing methods that defined her earlier practice — the interplay of fashion and computing, object and performance — in favor of slower, more collective processes: working with communities, materials, and cycles of growth and decay. The critical charge of her earlier work, which investigated the tension between public and private, body and machine, persists — but it's now directed at the tension between body and ecosystem, individual and community, private experience and shared ritual.