WEST MILFORD Michiko Rupnow shares her life with her husband, family and friends. However, an intimate and unique aspect to her life is actually on permanent display. Nestled in a quiet, secluded area off Macopin Road, the yard where Rupnow and her husband Don live is dominated by an artistic expression. Works completed over a period of 20 years fill the space, creating an open air gallery. Not too long ago, Rupnow was putting the finishing touches to her latest creation. The boathouse project displays a segmented human body wrapped in flames attempting to escape a ticking bomb. In a voice much smaller than the force of her work, Rupnow said, “This represents what I see as the effects of World War II going into the 21st century; the after-effects of World War II.” Born in Japan, she emigrated to the U.S. in 1967. “I am a Japanese-American and I talk about the war here because things are still unresolved,” said Rupnow. “It’s still not over.” In a series of drawings Rupnow explores her national heritage and her place in the world as a migrant. In her resume Rupnow writes, “If I had not immigrated to the United States ... I probably would not have become conscious of Japan and would not be doing these drawings.” In the main part of the garden the first sculptures to stand out are the series Rupnow calls her tree-toppers. Shining aluminum structures sit atop tree trunks, occasionally designed to look similar in design to branches and leaves, sometimes deliberately more abstract in appearance. In a different part of the garden, a large structure takes pride of place near the main stairway. White panels are joined together by metal rods in a form that Rupnow titles, “The Mechanical Woman.” “It used to have moving parts,” said Rupnow, “I look at this as a self portrait.” Rupnow’s work has been on display in numerous galleries in New Jersey, New York and Pennsylvania with her most recent showing at the Mainline Arts Center in Philadelphia, Pa. Inside the home itself, Rupnow’s drawings are on display in several series connected together and backlit to produce even greater impact. After perusing all of Rupnow’s work, particularly the large and heavy pieces in the garden which are unlikely to ever move from their current spot, Rupnow pondered what will happen to them in the future. “When we leave this house, if another family comes to live here, I do not know what they will think,” said Rupnow. “Maybe things will just be left to disintegrate.” Rupnow’s work will certainly live for a long time, with or without her presence.