Eberhard Havekost re-invents painterly supremacy. Taken from personal photos and media sources, his imagery is rendered to highlight the limits of their own mechanically reproduced distortion: speed is represented with the blurry lines of film, colours are unnatural, and grim buildings and landscapes are given a clinical rebirth. Seeing painting as a method of improving on reality, Havekost portrays his subjects with a harsh artificial light, making intimately recognisable scenes seem stiffly manufactured and strange, resonating with the newness of expertly packaged products. In Mobile 1, Eberhard Havekost paints a train carriage: attending only to its formal elements his familiar image is twice removed from reality, becoming a casual mixture of lines and squares, a pure representation of modernity and momentum.