This body of work was inspired by research I had begun to conduct for various public art projects. In tandem with my personal studio art practice I created over twenty commissioned, site-specific art in public places projects from 1978 – 2014. I was interested in the methods of representation, and the wide variety of languages that existed, within the lexicon of visual communication. I unearthed a myriad of systems, forms and image dialects that when layered, recombined, or recontexualized significantly altered their original intended meaning.  In my previous work, I had been creating paintings from photographic sources that attempted to serve as a surrogate for “real” space. I employed a strategy where the front of the picture plane, similar to the reflective glass of a framed picture, simultaneously represented the concepts of the renaissance window and the modernist wall. In this body of synthetic collages I wanted to make paintings that were constructed of discreetly shaped objects that concurrently represented real and illusionistic space. I created a model of a fabricated synthetic, but trompe l'oeil, illusionistic space.  A deceptive space that served as a surrogate for the real. This collage methodology, where I combined a set of seemingly disparate image pieces, began to suggested a narrative. I wanted to create a relationship using visual rhyme simile, alliteration and metaphor. The reading of image components became analogous to words forming a sentence or phrases striving to become a visual equivalent to concrete poetry.