Havekost chooses rather unspectacular everyday objects as motifs for his pictures, which he then monumentally renders onto the canvas in a distorted perspective and with alienated proportions. Accordingly, Havekost's pictures - just as it is the case with our painting "Gras" - appear familiar and odd at the same time: "Everything is real on Havekost's pictures, but nothing is palpable; everything's artificial and depressingly real" (Thomas Wagner, Eberhard Havekost, Die Erfahrung kommt erst in der Blendung zu sich selbst, in: Künstler. Kritisches Lexikon der Gegenwartskunst, edition 84, issue 24, p. 2).