Walking past a storm water runoff area in Louisville, I was drawn to the natural and man-made color palettes, the one-point perspective, and dappled sunlight. The location intrigued me further because it's officially off-limits—yet graffiti artists are compelled to paint there anyway, drawn to the walls' potential despite the risk.

Rather than document the graffiti directly, I used a nonobjective underpainting in those spaces, allowing it to show through where the original marks existed. This creates layers upon layers of paint—visual depth without specifics—leaving room for each viewer to interpret what they see.