
Roberts Projects is pleased to present a survey of paintings from 1998 to 2015 by the German artist Eberhard Havekost, whose work explored the parallels between systemic ideas of perfection and the modes of ideal image construction.
Working from his own collection of photos and video footage, Havekost used a computer to alter the original images: hues became subtly distorted, while forms were imperceptibly stretched and skewed. These modifications became further translated through Havekost’s manual process of painting. The final image wasn’t one of photographic precision, but instead a series of transient moments that capture an abstracted perception. The intentional ‘errors’ make the image appear more natural and visually pleasing, while the attenuated distortion transforms an instance of banality into one of harmonious beauty.











The work of Eberhard Havekost (1967–2019) explores the parallels between the systemic ideas of perfection and the modes of ideal image construction. Working from his own collection of photos and video footage, Havekost altered the original images on a computer: hues were subtly altered, forms imperceptibly stretched and skewed. These complications were then further translated through the process of painting. What Havekost presented wasn’t photographic precision, but rather transient moments of abstracted perception; the intentional ‘errors’ make the image appear more natural and visually pleasing. The attenuated distortion transforms an instance of banality into one of harmonious beauty.
Roberts Projects offers a critical and discursive platform for presenting diverse perspectives on contemporary art. It commissions and showcases projects from a multinational, multi-generational, and multi-disciplinary array of artists.

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