In Domesticity, the couple disappears into the wallpaper, domesticated into oblivion like the femal character in Charlotte Perkins Gilman's The Yellow Wallpaper, who descends into insanity as the result of a similar oppression. In Secret Lover, part of the woman's body is literally embedded in the house. Outside of it she is as shadowy as the dark male figure beside her. His ephemeral body, despite its dense black color, dissipates here and there to the extent that the blue field can be seen through it. The flower on the Matisse-like table with vase also takes on color within the field of the house. These shapes may refer to ripeness and voluptuousness, also suggested by the title, a voluptuousness that the house seems to enshrine.
In Adrift the structural order of the house centrally anchors the otherwise infinite, cosmic space of the starry, green night sky. The luxuriously lounging nude woman in the foreground floats comfortably in her rocking chair, foot delicately dangling, and looks dreamily towards the bright green house. The house sems to glow, absorbing the light from the starry night. The relationship of house to female body seems to be one of languorous sensuality - a site of reverie and desire.