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Satire as a critical category is an abidingly useful concept enabling comparison, understanding, and insight. In Jason Seeley’s closely observed scenes, a contemplative mixture of empathy and chagrin, accomplished execution is not the question. His photo-mimetic subjects are painted starkly isolated in a vacant field of pristine white. He uses his family members as subjects to heighten a personal identification, but without sentimentality, allowing the viewer a sense of restrained engagement, in the way a magazine illustration in Psychology Today or The Atlantic is set off on an otherwise blank facing page with enough anchoring intensity to pull an inquiring reader into the accompanying article.
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