January 2014


David Joselit

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 …

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