Part fig leaf (a symbol of modesty) — part ‘fig.’ standing for ‘figure’ — or abstract mark (‘ein Fleck’ meaning ‘a stain' in German) — the paintings deal with expectations of dominance. The figure-ground relationship is complicated intuitively by reversals of perceptive depth. The difference between red (protrusive) and blue (recessive) lends itself well to such inversions and the restricted palette provides a uniforming putti for the artist, to chew and remould over time and layers. The variety of pigments used have differing biases of temperature and hue that act like false friends in translation, wherein language doesn’t continue as expected, and the pace of interpretation is slowed. Art historical references such as a detail of wallpaper from a painting by Edward Vuillard act as a point of departure together with Charlotte Perkins Gilman’s 19th century feminist short story, ”The Yellow Wallpaper”.