 These new paintings, such as "Fruit of the Vine" (1996), employed autumnal washes of loose, patchwork grids that formed fractured, Cubist pictorial spaces, onto which she layered lyrical, rhythmic plays of biomorphic shapes, resembling seeds, pods, ferns or branches about to blossom or fruit.She unified the compositions by overlaying heavy, map-like white and black line work suggesting tendrils, vessels and honeycombs, which brought the organic forms into focus.Critics noted the work's lush depths and handling of paint, which appeared both spontaneous and controlled.