In a world increasingly flooded by the visible, Imperfaction turns its gaze toward what fades.
The series by D. Tappert does not present animals as dominant protagonists, but as fragile presences within a nature that itself becomes memory:
A polar bear in the thinning white of night, a fox in the shallow green of dusk, a snow leopard in the silent blue of altitude — twelve works, born of light and mist, poised on the threshold between being and not-being.
The visual language of the series — suspended between impressionistic dissolution and digital fragility — reinforces its central theme: impermanence as form.
The works exist first only briefly in physical form: classically made, in colored pencil, acrylic, or oil. They are then destroyed — and continue to exist as digital images, whose pixels now appear fragmented, recalling what once was.
What remains is the real: tactile, vulnerable, finite.
A deliberate analogy to the fundamental condition to which all living things are subject.
The title Imperfaction — a neologism formed from imperfection and action — describes the irreversible step toward incompleteness, and its acceptance as a creative principle.
It is not the perfect that is meant to endure, but the tangible, the fleeting, the vulnerable.
Thoughts
Born in 1972, D. Tappert resists classification within conventional categories. His work is shaped by a persistent search — one in which, as he notes, questions tend to outnumber answers.
An autodidact, craftsman, thinker, and poet, his practice is guided by a pronounced empathy for the imperfect and a deep respect for the singularity of creation. To describe his working method as unorthodox would be reductive.
Tappert works in oil and acrylic, with colored pencil and street chalk — essentially with anything capable of leaving a trace. Boundaries between disciplines remain permeable: sculpture, painting, writing, photography, and analogue as well as digital processes intersect, are constructed, further developed, and abandoned.
Engagement with a subject does not end when it is exhausted, but when an inner understanding emerges. At that moment, the subject has already begun to fade. The limited selection within Imperfaction reflects this transition: not reduction, but completion.
The motifs arise from a lifelong closeness to the animal world. From an early age, attention was directed less toward humans than toward the quiet, autonomous existence of animals — beings that exist without the need for explanation.
That Imperfaction depicts animals rather than machines or objects is not an aesthetic choice, but a consistent one.
Classical landscape painting forms the point of departure for the series; within the digital process, it dissolves into a fragile pixel structure.
Imperfaction is not an ongoing project, but a state — a consciously ephemeral moment between form and dissolution.
The twelve works presented in this edition are limited to 24 pieces per motif and are available now. 100% of the proceeds are dedicated entirely to wildlife and species conservation. All costs for materials, production, and shipping are covered by the artist.
Each work is hand-signed by D. Tappert and individually authenticated. No reprints will be made. In keeping with the concept of Imperfaction, both the originals and all preparatory sketches have been deliberately destroyed.
In memory of Annina Tappert 1968 – 2026
In memory of a person who loved animals above all else — and whom we loved beyond measure. You will always be with us.
For inquiries regarding the edition, please contact us.
„Projekt Imperfaction“
PANZERHALLE
Alfred Nobel Straße 63–67
50169 Kerpen
Editions