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Megerle's earlier drawings with all their provisionality, like comic book schematics for inkblot architecture, retain some of that previous ambiguity here: the amorphous bulbs of lumpen potato people, forms of soft confusion, the graphic line replaced here with corpulence, a dumbness that flatters them, doubt as to what is taking place in them, uncertainty opens as possibility: art's usual interest in opacity replaced with a direct mystery.
See too: Mathew Cerletty at Office Baroque,