Her native Flemish landscape and time spent in Mexico come into play as well. Her paintings express a kaleidoscopic world of industrial scenes, architectural landscapes, and family gatherings. Formal training in the United States reveals a fauve-cubist spirit with elements of social realism. However, her colorful evocations of cityscapes, carnivals, crowded restaurants and domestic scenes reveal a more romanticized version of social-realism. In Riverside Drive , somber hues ooze dark essences.
Smoke rises from stacks as boats plow their way through the murky waters of New York harbor.
Shifting to bright primary colors, Green Pastures captures the vibrancy of the city. Cezanne-like projections of background into foreground create a dizzy cacophony of elements, including buildings reminiscent of her native Antwerp. Using a pallet knife to build color, she achieves a sense of movement through swirling arcs and projecting volumes. Verticality and circular disks are reminiscent of experiments with Orphism such as found in the works of Robert Delaunay and Franz Kupka. The synchronism of Stanton Macdonald-Wright is also evoked.