Begun back in 2004, this series harkens back to the spontaneity and emotionalism of Abstract Expressionism, while at the same time entertaining some of the analytical-ness/self-restraint of Op Art and De Stijl. A self-imposed constraint is seen in the the distinctive rectangle-pattern which Skeir strictly adheres to in all of the ‘DNA Landscapes’. One could say that the integration of these two extremes (wild and rigid) from art history reflects the artist’s ambition to harmonize these opposing forces within himself and his environment. Although every painting in this series is created from the same grid-like template, that is not to say that they all look the same or similar. Skeir has continued to develop works with new colour-schemes, painting techniques and moods. Another variation between the ‘DNA Landscapes is with the sense of depth/immersivness in the paintings. Some ‘DNA’ pieces evoke a sense of a deep space and a horizon so far distant that it is ambiguous, while others seem to thrust outward at the viewer in an exciting or oppressive wall of colour (as in the piece ‘Voice of Fire’ by Barnett Newman). Finally, these dense, all-over compositions were named ’DNA Landscapes’ after their resemblance to the appearance of DNA when scientists add fluorescent-coloured dyes to chromosomes for genetic research.