Ancient civilizations mastered the technique of representing their lives two-dimensionally, as evidenced in their cave paintings and relief sculptures. While recognizably capturing the goings-on of their societies, they began the tradition of abstraction, where an object is formally defined. When viewed, these artifacts possess a curious ambiguity due to the removal of context created by the passage of time. I use representational figures in the same way: as vehicles through which to study color and line while indirectly conversing about the world they depict. I begin with a sanded layer of National Geographic pages that lay a foundation rich with texture and subdued colors. Next, I build a framework of geometric and organic line that both organizes the texture and provides a skeletal structure to support the culminating coat. Washes of acrylic paint build to produce a matrix of collaborating colors, while the varying transparency ties all three layers together in a contrasting depth.