In Katherine Bernhardt’s Amaizight Landscape (2012), broad, dripping swathes of chocolate-brown paint describe a geometric design of daubs and diamond shapes against a fawn-coloured ground. The surface is alive with texture and movement, and blushes of neon orange glow through from beneath layers of pigment. Bernhardt, who first rose to acclaim for her vivid depictions of models lifted from Vogue magazine, paints all manner of subjects with a distinctively energetic style and a sharp eye for pictorial structure. While many of her pop-culture references are deployed in a Day-Glo palette, she also works in more restrained mode, as evidenced by the present work. Amaizight Landscape is one of a group of paintings based on handwoven rugs by nomadic Moroccan tribes: the title puns on ‘Amazigh’, the term by which the Berbers refer to themselves. Bernhardt’s commanding, seductive brushwork oscillates between abstract pattern, glyphic form and the depicted surface of a wall-mounted carpet, unfolding a rich pleasure in the pure power of paint.