Thomas Eggerer’s recent exhibition marked a conspicuous shift in the artist’s practice. While architecture and the (almost always male) human figure have long been central to Eggerer’s paintings, both subjects typically appeared with a brushy unfinish that emphasized the paintings’ process. In contrast, Eggerer’s new compositions have a smooth, even-sealed quality to them. But perhaps the defining feature of the painter’s earlier practice was that his bodies almost always appeared in groupsclamoring in the ocean, working in the fields, traveling by bus, or lolling about on a playground. Here, in the new paintings, when there are bodies at all, they are often seen alone and in pieces.
The first thing one noticed upon entering the exhibition was its emptiness. Three paintings all depicted some stretch of sidewalk, replete with grates and manhole covers. The viewer confronted
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