My emotional attachment to Rome and Italy is not only artistic, as the foundational territory of my research, but also personal. To work there today as an artist means re-evaluating my fascination with painting’s ancient relationship to domesticity and intimate space. I propose to conduct my residency in two interconnected phases of focus Leda in the Bedroom: My interests condense where painting and architecture are in intimate dialogue, whether the space be domestic, religious or ceremonial. The ancient roman household plays a vital role in imparting lessons on the intensity of painting, capable of infusing everyday life with visual and mental enigmas i.e the necropolis of Tarquinia and Cerveteri, and the in situ domestic frescoes of Villa Farnesina, Pompeii and Herculaneum. The Fragment: Rome is perhaps the best example of a city that venerates the fragment. I am interested in how a culture can grow and transform between and among fragments. The fragment is also the basic element of the ancient roman inlay technique ‘opus sectile’, later ‘pietra dura’, central to my practice, found in churches and the Capitoline museums.