These paintings of vintage neon signs simultaneously venerate mid-century atomic design while transforming and augmenting the era’s revered monuments. Acknowledging that both memory and history are culturally biased informs my process and my intention to redefine how we perceive, recall and document these icons of advertisement. The intersection between documentary and fiction, specificity and approximation are at the heart of the incongruities pervading these strangely abandon yet and brilliantly alive totems. Internalizing these contradictory relationships inform our perception as we embrace the role that fallacies play in our collective memories of American archetypes.