Amir Chasson’s paintings seem to juxtapose two different ways of understanding the world: the statistic, represented in graph form, and the individual, a close-up portrait. At first look, this combination – man against number – might stand for a straightforward social critique, or a restaging of an age-old conflict in painting itself (the figurative against the abstract). Yet it’s the act of painterly transcription, and particularly Chasson’s soft, almost tender blurring of the transitions in a human face, that complicates such an easy reading.