Working from found media images, Scheibitz takes his subject matter from the empty and idealistic scenes of consumer culture. Deconstructing the original images into abstracted components, Scheibitz's paintings become design-oriented simulacra: architectural blueprints for themselves. In Douglas, Scheibitz paints a kaleidoscopic distortion of suburban pleasantness, a kind of twenty-first century cubism that references virtual reality as much as painting.