For over fifteen years, Lisa Sanditz's pulsating, Kool Aid- colored landscapes have captured the intersection between the natural world and built environments and its effect on food production, consumption, ecology, and the economy. Sanditz travels to diverse places -single-industry cities in China, junk food factories in Arizona, industrial sites in Miami-and collects artifacts, smells, tastes, and stories, making sketches and taking photographs, then returns to her studio to replicate the human action on the land, using what she calls her "painterly moves."

In her work Color Farm (2010), Sanditz reimagines a factory in Miami that tests the colorfastness, strength, and durability of plastic by exposing it to sunlight. She creates an aerial view of a farm with flat columns of squares like paint chips thriving against a green ground; here and in other paintings, such as Upstate Swamp (2016), which depicts a waterway contaminated with brightly colored microplastics, the saturated palette is testament to the endurance and longevity of plastic in the landscape. Sanditz stumbled upon the idea for Fumigation Tents (2016) when driving through the streets of Los Angeles and seeing houses draped in brightly striped tents to rid each house from pests. She incorporates two perspectives - a close-up along the bottom edge and an aerial view of a cantilevered city in the upper two-thirds, saying "When I paint, I don't just view the image as if I'm looking at it through a camera." The whimsical landscape is dotted with a number of these tents, but color seeping out of their lines as well as aerosol spray-paint marks at the top of the painting hint at their deadly purpose.

— Barry Schwabsky, 2019