▁geometry , ▁and ▁organ ic ▁and ▁artificial . ▁These ▁paint ings ▁are ▁regarded ▁as ▁reflect ing ▁Bel court ' s ▁dual ▁Brook lyn / Que bec ▁experience ▁and — acc ording ▁to ▁John ▁Y au — are ▁less ▁about ▁landscape ▁or ▁abstra ction ▁than ▁about ▁" the ▁visual ▁signs ▁we ▁assume ▁to ▁be ▁integral ▁to ▁each ." ▁He ▁writes , ▁" It ▁is ▁this ▁dou bl eness ▁that ▁Bel court ▁brings ▁to ▁f ru ition ▁in ▁her ▁work ; ▁and ▁it ▁is ▁unlike ▁anyone ▁else ’ s ▁… ▁reve aling ▁more ▁possibilities ▁the ▁more ▁time ▁you ▁spend ▁with ▁them ." ▁Writ ers ▁also ▁note ▁her ▁later ▁work ' s ▁resistance ▁to ▁fashion able ▁and ▁academic ▁disc ourses ▁( e . g ., ▁appropri ation , ▁ir onic ▁signal ing , ▁or ▁digital ▁media ) ▁and ▁on going ▁commit ment ▁to ▁modern ist ▁formal ▁play , ▁physical ity , ▁em otion ▁and ▁the ▁craft ▁of ▁painting . ▁ ▁In ▁the ▁" H edge Land ▁P aint ings " ▁( 2 0 0 9 – 1 0 ), ▁Bel court ▁sh ifts ▁in ▁a ▁geometric ▁direction , ▁replacing ▁formerly ▁swe eping ▁v istas ▁with ▁dense , ▁f ract ured ▁configurations ▁of ▁stack ed ▁brick - ▁or ▁box - like , ▁mod ular ▁forms ▁that ▁press ▁against ▁the ▁picture ▁plane ▁and ▁def y ▁spatial ▁logic . ▁The ▁imag ery ▁of ▁these ▁paint ings ▁ranges ▁from ▁clearly ▁referenced ▁land forms — s ometimes ▁wrapped ▁around ▁architect onic , ▁gate - like ▁shapes ▁or ▁mon ol ith s