In Untitled Scheibitz deconstructs a suburb in all its prefab glory. Breaking his painting down into compartmentalised units of colour, the effect is far more sophisticated than folksy faux naïveté: he uses painting as the human equivalent of digital compression.

Stripped of all extraneous detail, he renders the scene as pure codified information. Scheibitz doesn't offer a representation of reality, rather, a universally recognisable idea of it, reassembled into digestible shapes and Pantone hues.