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TIME ZONES: THE RECENT WORK OF THOMAS EGGERER

Thomas Eggerer, Rodeo, 2012, acrylic on canvas, 90 x 79".

IN THOMAS EGGERER’S RECENT PAINTINGS, figures enter thickets of agitated brushstrokes and zones of candy color, impossible landscapes of painterly marks. These figures appear in two distinct ways: as cutouts, dislocated from the canvas by a narrow, encircling border of contrasting color; and as pentimenti, palimpsests of drawn and redrawn human contours emerging out of (or falling back into) fields of paint. But cutouts and pentimenti could not be more different. They represent two opposing poles in the possible relation between a figure and a ground. The first strategy suggests alienation, as though both gestural marks and the monochrome expanses surrounding them were rejecting figures like so many transplanted organs. The brushwork around groups of boys in works such as Waste Management, 2012; Rodeo, 2012; and Carousel, 2013, for instance, tends to be agitated and crude, implying

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