In Untitled Thomas Scheibitz deconstructs a suburb in all its prefab glory. Breaking his painting down into compartmentalised units of colour, the effect is far more sophisticated than folksy faux naïveté: he uses painting as the human equivalent of digital compression.

Stripped of all extraneous detail, he renders the scene as pure codified information. Thomas Scheibitz doesn’t offer a representation of reality, rather, a universally recognisable idea of it, reassembled into digestible shapes and hues.

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