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The directness of its depiction is satisfying like a sign painter's numbers, a dumbness relieving against the muddled intentions of more artistic means. Like late Guston's plodding brush making hamfistedly evident its recording of painting, Shimizu's brushwork is the bones conjuring the apparition, the image's appearance, to be there incredibly plain: a plush otter holding a starfish. Their almost autistic commitment to the deadpan delivery of depiction pityably endearing.
Past: Trevor Shimizu at Rowhouse Project, Mark Grotjhan at Karma
