▁of ▁land , ▁sky ▁and ▁sea , ▁their ▁sp a cious ▁calm ▁dis rupted ▁with ▁the ▁intr usion ▁of ▁incon gru ous ▁red ▁tongue - ▁or ▁finger - like ▁shapes . The ▁New ▁York er . ▁" Three ▁P ain ters ," ▁January ▁ 2 9 , ▁ 2 0 0 1 . ▁In ▁Island ▁( 2 0 0 0 ) ▁and ▁W oo ▁( 2 0 0 1 ), ▁small ▁tu ft s ▁of ▁grass ▁transform ▁abstract ▁color - field ▁paint ings ▁into ▁se as cap es — in ▁these ▁cases ▁un sett led ▁by ▁what ▁The ▁New ▁York er ▁describes ▁as ▁" a ▁Gust on ish ▁ser pent ▁sl ither ing ▁into ▁E den " ▁in ▁the ▁former , ▁and ▁a ▁red ▁e el - ▁or ▁finger - like ▁shape ▁po pping ▁through ▁the ▁surface ▁in ▁the ▁latter . ▁ ▁In ▁the ▁simplified , ▁sharp ly ▁cont oured ▁compos itions ▁of ▁her ▁" H edge " ▁paint ings ▁and ▁" C ed ar " ▁draw ings ▁( 2 0 0 1 – 8 ), ▁Bel court ' s ▁blob ▁shapes ▁give ▁way ▁to ▁sculpt ural , ▁mon ol ith ic ▁sl abs ▁en hanced ▁by ▁cast ▁light , ▁which ▁are ▁set ▁off ▁by ▁simplified ▁p ine ▁tree ▁and ▁bare ▁branch ▁forms . Hen ry , ▁Max . ▁" Lou ise ▁Bel court ," ▁Time ▁Out ▁( New ▁York ), ▁May ▁ 1 3 – 2 0 , ▁ 2 0 0 4 . ▁The ▁block y ▁shapes — in sp ired