Following in the tradition of paper architecture, I use the arguably dead craft of architectural hand-drafting to capture and document landscapes and environments that otherwise exist only in my mind. Extending from this work and the resulting drawings, I use chalk pastel, watercolor, and digital collage to further two-dimensionally materialize these hypothetical landscapes, which are an amalgam of memory and invention. The rules of architectural drafting and that it has the potential to communicate complex spatial information—and has been doing so since the beginning of documentation—are the framework and anchor of my practice. For my drafted drawings, my process requires rigidity and manipulation of graphical rules in order to make legible the ephemeral and messy scenes of my imagination. This contrasts the process for my digital collages, which allow me to more overtly explore and lean in to the murkiness of memories and emotion. It is important to me to continue working along this spectrum of explicitness and abstraction. Folding my Bahamian background into these documents through the use of color and imagery is a crucial part of my process and an imperative to me, as the country and our entire culture face the existential crisis of climate change. My artwork serves as a way for me to navigate the state of being between geographies, creating site where there is none and envisioning alternative futures for sites that already exist.