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flatness sets up a strong perspectival pull towards the upper right corner. In 2014 two more works in this group establish a heightened tension between surface and depth they both employ multiple perspectives and competing grids. In Rice Paddy with Cyclone Fence at 8 feet wide the largest work in the show the tilted receding plant grid is now seen through a dark green wire fence tightly painted and in sharp focus its emphatic presence visually identical with the picture surface and by implication near the observers eye. The plants and the water are close-hued and hard to read behind the overlaid fence. The fences diagonally oriented mesh grid contrasts sharply with all that lies behind it. Finally in Cyclone Fence Triptych also 2014 the diagonal wire grid is the main pictorial element. The plants are still there but faintly. With reduced imagistic detail these two cyclone-fence works seem to function primarily as abstractions. Two paintings in the current exhibition introduce the flaring pointed roofs of a temple gate-house an explicit and dramatic architectural motif. Architecture is seldom seen in Berlinds pre-Japan paintings. In the smaller of the two versions on view Nanzen-ji Sanmon 4 2013 the building looms up almost black seen from below against a wintry sky with a few clouds. Berlind says he simplified the structure in the course of many drawings suppressing most of its details. Tree branches leafless and pale gray stretch across its facade. In the larger Nanzen-ji Sanmon 2014 the upper reaches of the temple are brought somewhat closer grayed out as though seen through a mist. Here the foreground branches are greenish and buds are perhaps incipient.