John Biggers studied African myths and legends and was particularly drawn to the creation stories of a matriarchal deistic system, contrasting with the patriarchal images of the European world. As his ideas and images of Africa melded into the memories of his rural Southern life, his work became more geometric, stylized and symbolic. Quilt-like geometric patterning became a unifying element of his work and color became richer and lighter. However, it is critical to note that over the years, Biggers moved from creating works that were overtly critical of racial and economic injustice ("Victim of the City Streets #2", 1946) to more allegorical works ("Birth from the Sea", 1964 and "Shotguns: Third Ward", 1987).