depth

What began as line — instinctive, continuous, never lifted from the surface until a form was complete — gradually demanded more. More scale, more colour, more presence. The same visual language that had wound across paper in black ink began to push outward, acquiring shadow, volume, and weight.
Working in acrylic on large-format canvas, Fritz builds each interlocking shape through light and tone, rendering forms that read as sculptural — almost physical objects occupying the wall rather than marks upon it. Gravity plays its part too: drips and runs are never corrected, accepted as honest traces of the making.
Yet the tension between flatness and volume is never fully resolved. These works sit somewhere between painting and something harder to name — and that ambiguity is precisely the point. Look long enough and the surface stops being a surface at all.