Light is locality. This particular body of work had its genesis a number of years ago, when I was in the Kimbell Museum, in front of Christ’s Blessing by Giovanni Bellini. Having just returned from Italy, I was hit most profoundly by the realization that the palette of unbelievably brilliant colors I had previously assumed to be an invention of sheer imagination and artistic brilliance was one I had actually viewed outside my window in Venice. In my years as an art history geek, it had never occurred to me that these gloriously inventive color palettes of the Venetian Renaissance, the Northern Renaissance, and the Hudson River School—all of these disparate movements that had so passionately guided me throughout my career—were direct aesthetic reflections of what these artists observed, and where they observed it. That moment connected my training both as a painter and a photographer instantly, in a manner I could not have accomplished solely through my education. I needed to be hit over the head.