— to ▁almost ▁purely ▁abstract , ▁fluid ▁configurations ▁of ▁soft - ed ged , ▁rect angular ▁shapes ▁that ▁res emble ▁the ▁com pressed ▁stack ing ▁of ▁form ▁in ▁a ▁city s cape . ▁Bel court ' s ▁port ray al ▁of ▁light ▁through ▁the ▁inter play ▁of ▁l ighter ▁fa ç ades ▁and ▁shadow ed ▁edges ▁is ▁a ▁key ▁component ▁of ▁her ▁later ▁work , ▁creating ▁a ▁convin cing ▁sense ▁of ▁three - dimensional ity ▁and ▁space ▁beyond ▁the ▁canvas ▁in ▁essentially ▁flat , ▁two - dimensional ▁paint ings . ▁ ▁The ▁" M ound " ▁paint ings , ▁begun ▁in ▁ 2 0 1 1 , ▁offer ▁compos itions ▁that ▁are ▁less ▁dense ▁and ▁feature ▁sculpt ural ▁shapes ▁res emb ling ▁buildings , ▁app li ances , ▁boxes , ▁or ▁mountains . ▁Crit ic ▁Am anda ▁Church ▁describes ▁them ▁as ▁" min i - world s ▁open ▁to ▁my ri ad ▁interpret ations ." ▁In ▁her ▁" Cl iff ▁F lower " ▁and ▁" L amb ' s ▁E ars " ▁works ▁( 2 0 1 5 – 7 ) ▁Bel court ▁incorpor ates ▁a ▁more ▁varied ▁p alette — including ▁black ▁and ▁grey ed ▁color ▁sh ades — as ▁well ▁as ▁cur ved , ▁plant - ▁and ▁bl imp - like ▁forms ▁that ▁break ▁up ▁the ▁space ▁and ▁are ▁influenced ▁( in ▁shape ▁and ▁color ) ▁by ▁her ▁interest ▁in ▁garden ing . ▁Crit ics ▁suggest ▁these ▁more ▁organ ic ▁and ▁anth rop omorphic ▁forms ▁( reflect ed ▁in ▁titles ▁con