Eberhard Havekost’s paintings are pervaded with and connected by an elusive atmosphere, a color-light that is generated not by the radiant power of colors and the light effects of their combinations but by the appearance of an even quality of chiaroscuro, light and shade, that runs beneath all the differences caused by figuration. Along with this, Havekost incorporates visual effects typical of specific kinds of video production: the extreme close-up, accompanied by distortion, that almost serves to define a genre in the field of porn video; eccentric camera angles; exaggerated perspectives; the juxtaposition and blending of heterogeneous elements, as in computer animation.

Selected solo exhibitions: 2003: Suzanne Tarasieve, Paris; 2000: Anton Kern, New York; Gebr. Lehmann, Dresden; 1999: Gebr. Lehmann, Dresden; Galerie für Zeitgenössische Kunst, Leipzig.
Selected group exhibitions: 2000: Gut aufgelegt, Kunsthaus, Hamburg; Extra ordinary, James Cohan, New York; Der abgelenkte Blick, Helmhaus, Zurich; Mixing Memory and Desire, Kunstmuseum, Luzern; 1999: Flugplatz Reinsdorff, California, Kunsthalle, Luckenwalde; Mietfrei, Gebr. Lehmann, Dresden; Wege der Deutschen 1949-1999, Martin Gropius Bau, Berlin; In Augenhöhe, Neuer Berliner Kunstverein, Berlin; Malerei, INIT Kunsthalle, Berlin; Pictures of Pictures, Norwich Gallery/ Norwich School of Art and Design, Norwich; Arnolfini Gallery, Bristol; Bilder aus Städten, Dresdner Bank, Frankfurt; Persuasion: Tales of Commerce and the Avant Garde, University at Buffalo Art Gallery, Buffalo.