PRINT October 2001


Thomas Eggerer’s paintings produce vertigo through formal means: Figurative vignettes based on photographic sources are detached, floating free in disconnected abstract fields. In The Tennis Lesson, 2000, a group of young players run through their paces on a court that dissolves into flaccid brushstrokes of lavender and stone; in Trio, 2000, the tour bus of what appears to be a glam rock band is parked in emptiness. Like optical puzzles, these paintings draw viewers in only to confound their perceptual bearings. Eggerer, a thirty-eight-year-old German living in Los Angeles, has arrived at this aesthetic through an intellectually and geographically circuitous route. He was trained in painting at the Munich Art Academy, but in the mid-’90s he collaborated with classmate Jochen Klein on a series of conceptually oriented projects and essays centering on questions of identity and public space,

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