Fortunately for Tommy Fitzpatrick, Houston has a plethora of steel and glass office buildings. Fitzpatrick uses their architectural geometry as the point of departure for the flat planes of his paintings, such as Twilight Triptych, a dynamic, vertigo-inducing trio of ten-foot canvases. In his most recent paintings, Fitzpatrick breaks through reflective windows to reveal unpeopled spaces with silhouettes of computers and desks, backlit by grids of fluorescent lighting. His exploration of planar forms gains an emotional element as it peers through impersonal exteriors to reveal evidence of the human beings behind the corporate facades.
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