He piles up rich palimpsest of paint over black grounds or snazzy oranges that are structured with
architectonic solidity» (W. Wilson, «N.Y. Subway Graffiti: All Aboard For L.A.,» Los Angeles Times, Apr. 16, 1982, n.p.).
[xii] In a series from 1956, Thomas dispensed with thin paint, giving the picture plane
solidity with more densely painted
architectonic forms locked in puzzle - like configurations, as in Highway II (1957), whose sage green, grays, and ultramarine blues are suggestive of the heaviness of the approach of dusk.