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.