Clueless dweebs
Bob Brueckl
Electromagnetic fields smudge over the fleshy brightness,
dissembling permutations to brightness,
flashy brightness unlike agitated declination,
dank glory,
excoriated elongation,
I glow inside you inanely.
I awake lucid.
Inanely I glow inside you,
your bristling iniquities inanely excoriating the hairy agitation--
which is what--
what wounds dissolve.
I glow inside.
I glow inside.
Effusively tedious,
agitated,
excoriated,
wet,
I am inside wet,
glowing.
Inanely I am glowing.
Outside the brightness glows unlike the sweetness,
the prelineated swoon withers to excoriate the brightness.
I wetly glow,
glowing,
wetness.
I glow inside the static.
I am glowing wetly.
I glow,
I am my I.
My "I AM" glows.
I glow glowering,
haunting the wetness,
hurling inside inside,
unlike the unglowing.
I am lowing brightness.
Inside you.
Excoriated.
Excoriating the bright wetnesses.
Glowing inside,
dimming eyelids outside the wetness,
dank sunspots,
and spur ourselves on to salivate a hand-hewn seed roundel,
an unkind arrangement in the wee hours.
Glowing wetly,
I glow wetness,
a swoon glowing wetness withers wetness:
witness.
--Bob BrueckL
Palafax Solipsigossa
Havekost's paintings are made slowly and with immense care; composed in colour over a series of six underlying and alternating coats of grey and white. They are permeated by a luminous atmosphere of light that is generated not by the radiance of the colours themselves and the light effects of their combinations, but rather by the even quality of 'chiaroscuro' - light and shade - that runs beneath all the imagery. Havekost describes this as a 'democratic light' comprised of a white light which is employed not for its dramatic effect to spot-light individual instances but to reveal the immanent brilliance of everything.
The End against the Middle is a landscape painting of the most humble and partial kind, a close-up cropped view of a section of a garbage depot, seen as if through a pane of frosted glass, or the haziness of a TV screen. The painting is constructed with sharp diagonals in the lower foreground which compete to lead the eye back, their ever-changing dynamic creating an essentially unstable image in which the eye scans to find a stable point of entry but is continually thrown off. Likewise, a bold horizontal band of grey runs across the bottom of the picture acting as a visual barrier, a distancing device to refuse the viewer's gaze. Along with these vertiginous angles the painting displays dramatic shifts in focus - a blurring effect sweeps across the image, softening grass, stones and bits of rubbish - a visual distortion like a filmic pan. The instances of visual clarity appear strangely intense and heightened.
The End against the Middle is a fluid and dynamic painting and, in contrast, Luft, has a quiet atmosphere of stillness and solitude. Luft is a partial painting of a male figure in trousers and a jumper, which seems strangely abstracted, as if the body itself has escaped. The figure is cropped, squeezed and elongated to fit its frame, sitting hunched on a chair in an introverted attitude, yet disembodied and made abstract and light.
Stop the Panic and Start the Panic are two dynamic paintings, which superficially offer very similar views of the same lightweight glider plane whose smooth streamlined forms speak of Modernism's quest for speed and flight. They explore a serial view of the same object shown from the same angle but at different moments as if the subject is crossing the planes of both pictures at once.
Havekost paints a world that refuses to be still and sit within a frame, one that is continually on the move. He deconstructs perception and explores its fleeting contingency, making freeze frames that pauses the visual process, transforming it into an arresting, material instant.
Eberhard Havekost has exhibited internationally in solo exhibitions at the Centre d`art contemporain Georges Pompidou, the Museu de Arte Contemporanea de Serralves, Porto and the Galerie für Zeitgenössische Kunst, Leipzig, as well as several prominent group exhibitions such as Painting at the Edge of the World at the Walker Art Center in Minneapolis and Painting Pictures at Kunstmuseum Wolfsburg.
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id est this strict
cow company of a drug identified addled-state
odd very odd in defined company F finances friend
this is very strict
well-financed space ship found in temporal rain forest
looking like benjiamn brittian conjugated
a good crash landing
this is restricted
for example glorius french fried tatters
from the sea near the near sea near the scene
siene a definate river sign
this is X
cod defied definative pie chart
fell off the chart in slices when the map was cut
shredded tea leaves in a virgin's demarrera cup
river signs up
this is xtenuating
circa 1923 stances of political degrees
duggan masters doctors whatnots pigs like us
neither look up nor down by the riverside
this is X on a busy street
in a rapid town in a hurried up state in a greaceless
nation where elvis couldn't live in peace
even on a barge on the river nile
this is near Xmas
short for max your mastercard master key master V
master of Xy arts sexy arts and greeting cards
dredge the river for the cod
this is Xpick
pick hard pick apart pick a humber pick a pick
a low scotland yard number leave the picts to us
we have extremely british ways
this is X over easy
company of smartie pants quotients tient tient
plein air peint a fetching backdrop of clubs
who will play the leading part
this is X over and out
company of deep hearts departs from comehither bay
paying the piper two bits for every clover he
part-tootied from the clarinet
it hadn't set yet
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'70s of fields, with a superimposed live-scan in 2001 of a
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