In The Architecture of Solitude, Melody Tuttle presents interiors as psychological structures—spaces shaped as much by absence as by presence. Figures appear absorbed in private, quotidian acts—sewing, resting, drawing a curtain, extinguishing a flame—while other paintings omit the figure entirely, leaving behind rooms and objects that feel recently inhabited. These works function as portraits without sitters, where presence is registered through light, atmosphere, and spatial tension rather than depiction.
