The Pool moves FitzGerald’s art furthest into the territory of advanced Canadian modernism. Viewing it is like looking through the zoom lens of a camera. The viewer’s field of vision is restricted to a small expanse of water, the reflection of the sky, and a few gently swaying grasses. The geometry of the reeds is accentuated by their mirror reflection in the water, making it difficult to read exactly where the surface is located. Without precedent in FitzGerald’s oeuvre, The Pool is virtually subject-less, focused on abstract pattern.