«A complex painting would be one capable of including many spaces... many qualities of light, of texture, of
facture, a wide gamut of colors; it would allow for descriptive representation, schematic or symbolic representation, for geometric and
gestural abstraction; and these would not simply coexist, but would somehow be coordinating... and out of multiplicity would arise the work's sense of meaning.»
Dominated by viscous black acrylic; one or two simple geometric forms; and an impastoed, at times
gestural,
facture, these canvases from 2002 — 2003 seemed a radical departure from her practice over the previous four decades.