This painting, called "Philadelphia" was done (in part) as an homage to my city of Philadelphia. It is a painting of dissonance on two levels—one strictly formal, the other contextual.
The first is the contrast of organic versus geometric shapes. The man-made, geometric shapes of the buildings, contrasted with the organic shapes of mother nature—the clouds, sand dunes, rock and the woman.
The second level—the literal content of the objects represented reinforce the sense of masculinity of the buildings, the central building (city hall) conveys a rigid masculine form while the semi-transparaent rock form (the Delicate Arch of Utah) emphasizes the femininity of soft, curved rock smoothed by centuries of wind-blown erosion and its shape is unmistakeably female.
The lunging female nude in the foreground reemphasizes the femininity of shape and completes the compositional device of circular direction of eye movement starting at the top of the city hall building and following around to the lower right edge of the painting.