My current body of work was inspired by a flight I took to Georgia. As the plane descended, I looked down and saw these remarkable geometric patterns and eventually realized I was looking at the suburbs. Each house I saw had a pool and a shed, and the colors were incredibly pure. Growing up in the suburbs of Maryland, these images were so familiar to me, but the view was new and unusual. Soon after, I began to gather images from various sources of patterns in land development and how people affect the environment. The paintings that have resulted from this research build an expectation for realism that the abstract patterns of the landscape continually deconstruct. I intend for the viewer to experience a feeling of realization; a slow process of discovering what is being presented. The subjects are painted in a familiar, yet unrealistic way to show their synthetic qualities. In ancient Greek paintings during the geometric period, living forms were represented as pattern to express that they were created by art and not by nature. In my work, I apply this technique to my own imagery. The paintings also have exaggerated color that can be toxic in appearance. I experiment with color relationships and the complexities of color theory, and this body of work pushes the limits of these ideas. I find color in shadows or neutral areas and simplify the color until it is almost pure. I have allowed some colors to become extremely bright or neon, and they are emphasized by the contrast of neutrals. This current body of work developed out of my earlier works, which were influenced by the interior spaces of everyday surroundings. My sources included multiple photographs I had taken. These works began as light and color studies. My emphasis was on multiple, artificial light situations, and the colors they created. The process I used to develop the work was complex, with many layers of transparent paint, and varying levels of rawness and realization.