Tony Fitzpatrick’s mixed media collages are all stylistically similar; a central cartoon-like drawing surrounded by a collage made up of everyday scraps such as old match books, postcards, cigar bands, advertising, porn mags, baseball cards, political pamphlets, playing cards, novelty glow-in-the-dark stickers and bus transfers. This detritus – an evocation of the past, a memory of places in the windy city – is often mixed up with his poetry or narrative texts.
Chicago is a subject close to Fitzpatrick’s heart, as are the memories of his father, although in recent times his subject matter has broadened out to include New Orleans, hobo symbology, superheroes, Crazy Horse, and Japan. They are moments to savour, of places long gone, some forgotten, some dimly remembered.
When reading up on Fitzpatrick I was taken aback at the extent of his CV, its pretty impressive. He’s designed record covers for the likes of Lou Reed, the Neville Brothers and Steve Earle as well as having acted in such films as Philadelphia, Primal Fear and Married to the Mob and also writes and directs plays with the famous Steppenwolf Theatre Company.
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