Uwe Tabatt, born in 1966 in Berlin, has lived and worked in Glienicke/Nordbahn near Berlin since 2005.

His art combines a impetus critic of civilization with a fantastic realism.

Uwe Tabatt's sculptures and moving picture objects include round and spiky, city and nature, organic and urban. The round was as much his favourite as the extreme that grew in height. Some of Tabatt's works also rotate e.g. rotating tires can be seen as a symbol of speed and dynamism and form the background noise of the noisy, gasoline-soaked, expanding metropolis. Uwe Tabatt combines the emotional exuberance with a rough rhythm, which is created by a good portion of sarcasm.

Tabatt paints his forms in wood, rubber, metal and on canvas with acrylic. Brushstrokes and colours create bubbling calms when there is calm and crackling tension whilst rotation arises.

The plant structures in his works illustrate an inseparable connection and dependence of man, both within natural and artificial environments. Tabatt combines opposing elements in a harmonizing way, and also illustrates how a single theme is intertwined with life as a whole.

Tabatt's works are thematically divided into different series:


Silhouettes of global cities give rise to urban landscapes in which architectural and organic structures enter into a symbiosis. The depicted fusion of nature with everyday objects or architecture into biomorphic forms, sharpens the view of the observer's responsibility in the interrelationship between man and  environment.

Uwe Tabatt skilfully makes use of the most diverse stylistic devices of modern art. Elements of Pop Art and surreal influences are transferred to the present and, as in object art, disused consumer goods are given a second chance as part of the artwork. The mounted utensils break up the two-dimensionality of the painting ground and become sculpture.

Tire sculptures rotate to the rhythm of the metropolis and Berlin as the spinning disc of a record player provides the sound. Movement is consistently translated into image and sculpture. The futuristic, up-and-coming urban landscapes do not stand still, dynamic organisms break up existing structures. As far as the tyre carries the buildings, the tyre becomes the epitome of mobility and dynamics.


For Tabatt, emotional triggers in the series of works are observations within society and in his own environment. The artist focuses on social forms of communication and their effects on interpersonal behaviour. Everyone is connected worldwide and yet introverted. Fixed and shielded on a luminous display in a real daily environment. The basis of this series is interpersonal dialogue, debate and exchange in the current era.

Representatively, the mobile phone has taken over almost all tasks of communication and processing in life. Everywhere in the search for the appropriate profile and the delimitation of the own representation of the personality. And most important, what should be presented in the outside world.

In Tabatt's depictions the individual expands in his fixation in the group to devout, sacred communities. Despite the coexistence and lively exchange of data, an isolation within the society becomes noticeable. The use of real mobile phones and telephones from all eras continues in painted structures and allows people and technology to form a synergy. People literally hang on the phone or are directly connected to each other by thin threads.

By means of threads or metal bands, the paths of the data are an expression of a strong connection or one that runs to nowhere. Using his signature approach, Tabatt picks up an omnipresent theme and he leaves the viewer with stimulation and food for thought..

Heraldic animals - Berlin bear and Brandenburg eagle

Tabatt creates multiple variations and artistically implements the theme of the big city. As a strong symbol for the city of Berlin, the bear is known worldwide and is inseparably linked to it.

When you think of Berlin, you also think of the bear. In Tabatt's case, however, he is not the well-known upright standing rigid heraldic animal, but rather finds himself in unusual situations in the middle of the big city. The bear always masters these with a little wink and Berlin-typical calmness.

In familiar places, the bear has to deal with new discoveries as well as everyday life and thus also represents the visitors and inhabitants of the city. Internationally renowned sights and places of interest such as the Reichstag, Red City Hall, Berlin Cathedral and Alexanderplatz serve as venues.

With a critical eye, Tabatt implements the theme in a variety of ways, trenchantly down to the smallest detail. The works are unique, original and over the years have become an unmistakable style of their own. In his works he also frees the eagle of the Mark Brandenburg from its escutcheon. Having become fully fledged, no longer a nest-stool at all and the latter may then show what power lies within him..

For all the visual acuity and flight ability of the red eagle, the limits of animal endeavour are also realised in the pictures in ironic contemplation. The neighbourly relations between Brandenburg and Berlin are also hinted at in various works. Tabatt moved to Oberhavel 12 years ago and so the eagle came into his field of vision. As a born Berliner, the bear also slumbers within him. The two are in interplay, in a balancing act as in „Kunststück“, in dialogue and can even be found in some of the pictures in intimate togetherness.

A fusion like the double picture of the same name painted on Brandenburg sand will not come about for the time being (they are still dancing around it), but who knows, in the animal world there is something like symbiosis. The coexistence of different living beings for mutual benefit.

Coexistence is already working quite well - they may still have to recognise the mutual benefits. In “Duet they dance with each other and in “Crash landing the very limited flying ability of the Berlin bear is made visible compared to his Brandenburg heraldic colleague.

Diffence is shown in the picture Tandem Flight. Here, the eagle carries the bear with ease and sovereignty from the big city forest to the pine forest of the surrounding area or, as in “Precision Landing, directly to the Landtag. That gives us hope; here the air traffic is already working quite well.

A beautiful old bed frame is the ideal base for “Night Reading. Exhausted by the rich foliage in the state of German unity, the two protagonists can take a real rest. Even though the eagle prefers to build its nest in the heart of the plenary hall.

Law & Order

In 1998, Tabatt began to artistically translate the theme of law and justice. He captured impressions and experiences in the jungle of paragraphs in exactly 99 pictures. He draws on the pictorial language of the legal profession, translating idioms, catchwords and technical terms such as  „the mills of the law", „vigilante justice" and „duty of confidentiality" into visual form.

Emblematic compositions are created, in which the paragraph sign in its distortions, twists, doubling and stretching is used as the obligatory basic motif of every picture. While at first glance the works seem like illustrations to the linguistic images however, a closer look reveals them to be a pictorial world in their own right following the consistent rules of transformation of Uwe Tabatt's work.

This perhaps explains why it is so important to the artist to emphasize that often the picture existed before the title. Like the scale of justice, the contents of the pictures are held in such a way that they can deflect in one direction or the other.

Thus, the mouth sealed with a padlock can be a plea for as well as against the obligation of secrecy, and the glasses in paragraph form can stand for the necessary transparency, but just as well for the narrowing of the view. The painted rooms are futuristic, confusingly large or floorless; paragraphs offer only questionable support.

In his work on „Law & Order" Uwe Tabatt explores both the strengths and weaknesses of the legislation. An ostrich sorrowfully buries its head in the sand. Search through the maze of legal hieroglyphics for justice or gave up on it a long time ago. Even the dove of peace, flanked by the other important powers of money and violence, is only laboriously climbing out of the eggshell. In his painting „Traumata" he describes the realm of law as a fairy tale land.

The petty bourgeois garden gnome tears up the laws in conflict with the fairylike justice, but sometimes a butterfly emerges from it. Lies and deception effortlessly exist alongside fairytale solutions. That jurisdiction, like everything else, has its limits as shown by Uwe Tabatt in his painting „Views". The earth rotates on paragraph tracks, in a space whose walls mark the limits of our knowledge of the universe.

Intermediate worlds

The main approach of these partly very plastic works is the description of states of transformation. Tabatt's attention is focused on the interaction between man and nature. Human bodies are in symbiosis with vegetable, organic and artificial forms. The bodies are often in a round, even embryonic state, surrounded by petals, grasses or waxy structures with which they form bonds and are interdependent.

It never has to be quite sure whether something is in the making or in passing. Do human flowers blossom or wither? Do the drop-shaped creatures melt away or grow? The pictures may remain calmly in a kind of floating state and the forms are in the process of movement. The plant structures illustrate an inseparable connection and dependence of humans, both with their natural and artificial environment.

Tabatt combines opposing elements in a harmonizing way, but also wants to show how a single theme is always intertwined with life as a whole. Tabatt works primarily with acrylic paints and combines materials such as parcel strings, rubber sheets, Plexiglas, wood and canvas to create lively spatial structures. The process of preparing the substrate then takes place. For example, when gluing parcel strings or grinding a basic body, it often takes more time than the actual painting.

He derives the titles of the pictures, such as “Porifera, “Kucurbitals or “Diospyrals from botany. The fact that the unstable natural balance can be influenced is shown, for example in his picture „All Encompassing".

When playing skittles with the round earth in the middle, the responsibility lies in the hands of mankind. The movement of the sphere and the resulting global entanglements are reflected in the network as a three-dimensional component of the entire image.

African Soul

Primeval forest elements underline in the series African Soul the experience of music as an expression of a body - and life - feeling rooted in nature. The sound of tropical rhythms, plants, animals, musicians and their instruments merge into a unified, intertwined jungle world.

Many first impressions of this series of works were gained 20 years ago by travelling to Africa in his own VW bus and of course, by visiting many live music concerts. Tabatt captures the atmosphere of smoky jazz clubs and exuberant street scenes in his pictures, sometimes bringing them very close to the eye of the viewer, or by choosing special details, external image forms and perspectives.

He pays particular attention to the presentation of the instruments, expressing his admiration for the craftsmanship and dexterity required to make them sound. It is also the enviable gift of being able to retain virtuosity and the joy of making music into old age while remaining seemingly young.

Music is something that fascinates the artist, especially when it is played live. The special atmosphere of the place where music is created, the interaction of the musicians and the visible effect of jazzy grooves and sounds of the audience are what inspired him to create his series „African Soul".

Africa is the motherland of many different musical styles and the special sense of rhythm is familiar to him because of his travels to Mauritania and Morocco. Although the actors and also the titles of his pictures are borrowed more from African-American musical tradition.

Perhaps one or the other will even hear a familiar melody and memories of a visit to smoky, dim jazz clubs will come back. Uwe Tabatt pays special attention to the presentation of the instruments and expresses his admiration for the craftsmanship and dexterity necessary to make them sound. In order to depict reflections and mirror images, he uses acrylic paints and brushes to bring out the fine modulations of the shiny metal surfaces of saxophones, trumpets and trombones.

He takes the touch of music literally, extends the wind funnels of the instruments to lasso-like structures that play around and caress the bodies of the dancers. In the pictures named with Afro-Latin rhythms such as „Samba Grazile", Uwe Tabatt uses elements of the jungle to enhance the experience of music as an expression of a body and attitude to life rooted in harmony with nature. In the “Sound of tropical rhythms plants, animals, musicians and their instruments grow together like a dream to form an intricate jungle world.

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