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In her 1987 series, Topological Deformations of the Cross, Junko explores the visual tensions that arise as the rectilinear cross is stretched as if on a rubber sheet. She wrote of the works in this series, "The cross is a spiritual symbol not only because of its Christian associations but also because of its essential visual properties. As soon as two lines cross, the four regions of space they define become pregnant with meaning and start moving towards fulfillment. Their intersection defines a center, which is something brand new in the formerly undifferentiated plane. The visual potential energy of the cross is so powerful that it can explode and resolve itself in thousands of ways. These works depict those explosions."
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