In Intro I, Eberhard Havekost uses the representational as a point of departure into the abstract; the subject of the airplane becomes incidental to the compositional form it creates. Elongated bands of colour stretch across Havekost’s canvas advancing and receding in tonal perspective; the shapes and patterns of the plane act as elements of geometric design. Havekost uses thin layers of paint to emphasise the painting’s contradictory flatness. Intro I possesses a feeling of weightlessness reminiscent of film projection.

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