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Seurat's subjects were lost to method where the calculative replaced care, an artifact of style that Eggerer transmutes into a violence, draining the person from people under his aerial high-view out over his subjects. What makes Eggerer an even icier painter than the morbid bloodletting of photo-influenced Germans is Eggerer's return to moments before photography's explicit rigamortis, when then those were still dying.
See too: Thomas Eggerer at Richard Telles, Luc Tuymans at David Zwirner, Michaël Borremans at Dallas Museum of Art
