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one painting to the next showing slightly different stages of growth. There are sometimes glimpses of the planted earth a few inches below the waters surface. The water ripples slightly and may reflect trees or shadows of clouds. In these paintings the water is painted first to form the narrow curving shoots of the plants Berlind scrapes this surface while it is still wet to reveal the pale cadmium-green ground underneath. The effect is subdued since the colors are close in value. Arrayed in a grid the plants present a configuration that is itself abstract. It tends to read as a flat vertical-and-horizontal grid but thats not the whole story. Rice Paddy with Reflected Trees 2 2012 reiterates Berlinds fascination with reflections on water and retains a rich painterly texture. Theres a new perceptual complexity the pale grid of the tiny plants is superimposed upon the upside-down images of the big dark loosely painted trees that dominate the composition. The grid formed by the plants which we seem to look down on from above is slightly tilted. Perspective is suggested by the subtle convergence of the plant rows and the slightly diminished size of the green clumps as they recede. The vanishing point not in the picture but implied is to the right of center. Rice Paddy 5 also from 2012 and considerably smaller is edged at the top and to the right by reflections of trees and a tall pole secured by a wire. The vantage point is shifted the rows now converge slightly to the left. In Rice Paddy 2013 the frame of reflected imagery is gone and the brushwork is less active. The effect is almost monochrome. The grids recession now quite pronounced despite an overall impression of