The odd name of this group comes from the fundamental composition; all the paintings are structured on a grid dividing the plane in thirds horizontally and vertically. Over this structure, I experimented with a new way of organizing the narrative, with a variety of images in a poetic use of metaphors and symbols revolving around the content, and freed from the constraints of realistic spatial settings. For example, ‘the Promise of Springtime’ is filled with images of new growth (e.g. the narcissus sending up shoots), images that reference vessels or containers (eggs, the oyster shell in her lap, shoes) or references to chance, (dice, Ma Jong tiles). The general concept of new ventures or a ‘leap of faith’ has a personal resonance in that the model, Suzy, is pregnant.