From micro to macro, conceived as a context for this body of paintings, I have tried to confront different ideas. First, the desire to create “documentary” landscape watercolors came from my attraction to the wonderful watercolors Dürer painted during his walking journeys between Nuremberg and Venice. The fictional landscape, as a synthesis of the world, comes to me from the medieval concept of Visio mundi. In Flemish medieval painting, the proliferation of detail is thought of as an homage to the divine. The theological idea behind it is a form of phenomenology of divine perception—the omniscience of God made visible through an accumulation of micro and macro details. I have sometimes tried to use this concept to paint landscapes of globalization, where I gather fragments of landscapes to express the production and consumption of things on a planetary scale. Factories, offices, houses, shopping malls, and parking lots taken from photographs of different parts of the world.