In these organic paintings, Pittari tries to "avoid the false expectation of achieving perfection." He is interested in allowing his humanity into the work, so imperfections and peccadilloes are intentionally left exposed.

Pittari uses the diptych as a mode of expressing the conflict between duality and compatibility, balance and imbalance. By placing one drawn panel next to another painted one, he creates a visual tension that reflects this struggle.

He further emphasizes the idea by working with two different sized panels. The fact that the canvases are attached in an asymmetrical way again suggests the idea of imperfection or vulnerability and adds another human quality to the work.

Originally inspired by the ebb and flow of the ocean, Pittari's work has evolved to express his own personal experience. Neither the calm reflective quality of the color field nor the energetic spontaneity of the drawn line takes any necessary priority.

The dialog that is created between the two panels is meant to lead the viewer to answer this question of supremacy for himself.