Based in Dresden, Eberhard Havekost often paints the city’s modernist-style buildings as a means to reference 20th century post-war politics and failed utopian vision. Havekost explores the parallels between these systemic ideas of perfection and the modes of ideal image construction. Working from his own collection of photos and video footage, Havekost alters the original images on a computer: hues are subtly altered, forms imperceptibly stretched and skewed. These complications are then further translated through the process of painting. What Havekost presents isn’t photographic precision, but rather transient moments of abstracted perception; the intentional ‘errors’ make the image appear more natural and visually pleasing. In Bowling 2, the tower block has been altered in its perspective and lighting. The attenuate distortion transforms an instance of banality into one of harmonious beauty.

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