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 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. The attenuate distortion transforms an instance of banality into one of harmonious beauty.