Colin Waeghe

2017

Postcards from Teramachi 2-3-4

After participating in the group show "wewantosee" at the 21st Century Museum of Contemporary Art in Kanazawa, Japan in September 2016, Colin Waeghe went back to Kanazawa for a two months residency in the winter of 2017.There he continued where he left off with the series 'A hermit's dream'.Living alone for two months in an old Japanese house, he became the subject of his own story. Waeghe decided to use his surroundings as the starting point of a new series. By focusing on his daily environment, he lifts banal artefacts from their micro-cosmos into a macro-cosmos.This results in the exhibition 'Postcards from Teramachi 2-3-4', a series of drawings with ink on Japanese paper. Teramachi 2-3-4 refers to the temple district, the address where he lived and worked during his stay in Kanazawa.

Overview Teramachi 2-3-4 (Ground floor)

Overview Teramachi 2-3-4 (Ground floor)

Overview Teramachi 2-3-4 (Ground floor)

Overview Teramachi 2-3-4 (Ground floor)

12 o' clock (ink on paper on canvas, 185x97cm)

12 o' clock (ink on paper on canvas, 185x97cm)

Red Box (ink on paper on canvas, 185x97cm)

Red Box (ink on paper on canvas, 185x97cm)

Mirror (ink on paper on canvas, 185x97cm)

Mirror (ink on paper on canvas, 185x97cm)

Peeping Tom (ink on paper on canvas, 185x97cm)

Peeping Tom (ink on paper on canvas, 185x97cm)

Overview Teramachi 2-3-4 (First floor)

Overview Teramachi 2-3-4 (First floor)

Green Chamber (ink on paper, 24x33cm)

Green Chamber (ink on paper, 24x33cm)

Hands (ink on paper, 24x33cm)

Hands (ink on paper, 24x33cm)

Lucky Charm Bathroom (ink on paper, 24x33cm)

Lucky Charm Bathroom (ink on paper, 24x33cm)

Peeping Tom (ink on paper, 24x33cm)

Peeping Tom (ink on paper, 24x33cm)

Red Chamber (ink on paper, 24x33cm)

Red Chamber (ink on paper, 24x33cm)

Saturday Morning (ink on paper, 24x33cm)

Saturday Morning (ink on paper, 24x33cm)

Void in the Closet (ink on paper, 24x33cm)

Void in the Closet (ink on paper, 24x33cm)

Red Box (ink on paper, 24x33cm)

Red Box (ink on paper, 24x33cm)

Horse (ink on paper, 4x(24x33cm), exhibition view)

Horse (ink on paper, 4x(24x33cm), exhibition view)

Lucky Charm Bathroom (ink on paper, 185x97cm)

Lucky Charm Bathroom (ink on paper, 185x97cm)

Lucky Charm Bedroom (ink on paper, 185x97cm)

Lucky Charm Bedroom (ink on paper, 185x97cm)

Nimbus (ink on paper, 185x97cm)

Nimbus (ink on paper, 185x97cm)

2016

The Great Escape Part II (Open Houses)

In the series The Great Escape (Open Houses), Part II Colin Waeghe shows a selection of museums and architectural structures he visited between 2008 and 2016. Not only are the white brushstrokes references to knotted sheets - often used in comics and films when trying to escape - the ink itself also seems to escape the drawing.

Exhibition view 21st Century Museum of Contemporary Art, Kanazawa

Exhibition view 21st Century Museum of Contemporary Art, Kanazawa

The Great Escape Part II (Open House Glasgow), ink on paper, 125/165cm

The Great Escape Part II (Open House Glasgow), ink on paper, 125/165cm

The Great Escape Part II (Open House Shanghai), ink on paper, 125/115cm

The Great Escape Part II (Open House Shanghai), ink on paper, 125/115cm

The Great Escape Part II (Open House Leipzig), ink on paper, 125/130cm

The Great Escape Part II (Open House Leipzig), ink on paper, 125/130cm

The Great Escape Part II (Open House Dessau), ink on paper, 125/110cm

The Great Escape Part II (Open House Dessau), ink on paper, 125/110cm

2016

A hermit's dream

In the new series A Hermit's Dream, Colin Waeghe explores the psychedelic mind of a fictional hermit. Although the hermit exiles himself from the world, the world still invades him. The essence of the series can be found in the painting Fourth Wall: the curtains are closed, yet light comes in through the cracks in the curtains. The fourth wall is a concept from the world of theatre used to describe the front of the stage. The other three walls are the sides and the back of the stage. The fourth wall is an imaginary wall between the audience and the stage.A psychedelic experience is characterized by an unknown and uninhibited state of mind. Images deform, daily objects become different: an aquarium becomes an ocean, flowers become a jungle. Nothing is what is seems.

Room with a view, Part 2 (70x70cm, oil on canvas)

Room with a view, Part 2 (70x70cm, oil on canvas)

Fourth Wall (70x70cm, oil on canvas)

Fourth Wall (70x70cm, oil on canvas)

White Gate (100x70cm, oil on canvas)

White Gate (100x70cm, oil on canvas)

Room with a view, Part 3 (70x50cm, oil on canvas)

Room with a view, Part 3 (70x50cm, oil on canvas)

Triangle (40x40cm, oil on canvas)

Triangle (40x40cm, oil on canvas)

Blue Sky (60x50cm, oil on canvas)

Blue Sky (60x50cm, oil on canvas)

Night Light (60x50cm, oil on canvas)

Night Light (60x50cm, oil on canvas)

Small Sur (100x100cm, oil on canvas)

Small Sur (100x100cm, oil on canvas)

Garden (Green) (60x50cm, oil on canvas)

Garden (Green) (60x50cm, oil on canvas)

Garden (Blue) (60x50cm, oil on canvas)

Garden (Blue) (60x50cm, oil on canvas)

Garden (Red) (60x50cm, oil on canvas)

Garden (Red) (60x50cm, oil on canvas)

Chateau Marmont (View on the pool) (70x85cm (framed), ink on paper)

Chateau Marmont (View on the pool) (70x85cm (framed), ink on paper)

Chateau Marmont (View from the pool) (70x85cm (framed), ink on paper)

Chateau Marmont (View from the pool) (70x85cm (framed), ink on paper)

Dive (Houdini) (70x85cm (framed), ink on paper)

Dive (Houdini) (70x85cm (framed), ink on paper)

Hideout (Howard Hughes) (70x85cm (framed), ink on paper)

Hideout (Howard Hughes) (70x85cm (framed), ink on paper)

In the shadows of books (Houdini) (70x85cm (framed), ink on paper)

In the shadows of books (Houdini) (70x85cm (framed), ink on paper)

2016

Ulysses 21

Ulysses in the 21st century. The universal nomad in a globalized world. Closing borders, opening borders, walls, guards and refugees...

New Year's Eve 15/16, 70x70cm, oil on canvas

New Year's Eve 15/16, 70x70cm, oil on canvas

Protest, 70x70cm, oil on canvas

Protest, 70x70cm, oil on canvas

Parliament, 40x40cm, oil on canvas

Parliament, 40x40cm, oil on canvas

Schutz, 40x40cm, oil on canvas

Schutz, 40x40cm, oil on canvas

Memorial, 40x40cm, oil on canvas

Memorial, 40x40cm, oil on canvas

Border, 40x40cm, oil on canvas

Border, 40x40cm, oil on canvas

Lost, 40x40cm, oil on canvas

Lost, 40x40cm, oil on canvas

Schengen, 40x40cm, oil on canvas

Schengen, 40x40cm, oil on canvas

Snow, 40x40cm, oil on canvas

Snow, 40x40cm, oil on canvas

Turn, 40x40cm, oil on canvas

Turn, 40x40cm, oil on canvas

Protest, 40x40cm, oil on canvas

Protest, 40x40cm, oil on canvas

Spell, 40x40cm, oil on canvas

Spell, 40x40cm, oil on canvas

Guards, 40x40cm, oil on canvas

Guards, 40x40cm, oil on canvas

New Year's Eve 15/16, 40x40cm, oil on canvas

New Year's Eve 15/16, 40x40cm, oil on canvas

2015

Greek Trilogy

A personal view on Greek history... A prelude to the Ulysses 21 series.

Less (100x140cm, oil on canvas)

Less (100x140cm, oil on canvas)

Enough (100x140cm, oil on canvas)

Enough (100x140cm, oil on canvas)

More (100x140cm, oil on canvas)

More (100x140cm, oil on canvas)

2015

'PANIC/SLEEP'

'PANIC/SLEEP' is a folding screen on which Colin Waeghe portrays two Greek myths.On the front panels Waeghe depicts the myth of Syrinx and Pan. Syrinx was a nymph and a follower of Artemis, known for her chastity. Pursued by the amorous Greek god Pan, she ran to a river's edge and asked for assistance from the river nymphs. In answer, she was transformed into hollow water reeds that made a haunting sound when the god's frustrated breath blew across them. Pan cut the reeds to fashion the first set of pan pipes, which were thenceforth known as syrinx. The front panels represent the daytime. On the back panels Colin Waeghe will use the persona of the god Orpheus as his main inspiration. The front panels represent the daytime. On the back panels - nighttime - Colin Waeghe uses the persona of the god Morpheus as his main inspiration.

2015

Crystal Palace

The series 'Crystal Palace' is a summary of visits to China and the French Rivièra. 'Crystal Palace' refers to the burnt down English pavilion of the World Fair in 1851 , and to crystal meth, the poor man's cocaine.

Joy Wheel, 100 x 140 cm, oil on canvas

Joy Wheel, 100 x 140 cm, oil on canvas

Canada Station, 100 x 140 cm, oil on canvas

Canada Station, 100 x 140 cm, oil on canvas

Band Stand, 100 x 140 cm, oil on canvas

Band Stand, 100 x 140 cm, oil on canvas

Indian Temple, 100 x 140 cm, oil on canvas

Indian Temple, 100 x 140 cm, oil on canvas

Stand-by, 100 x 70 cm, oil on canvas

Stand-by, 100 x 70 cm, oil on canvas

Trespass I, 100 x 70 cm, oil on canvas

Trespass I, 100 x 70 cm, oil on canvas

Court, 100 x 70 cm, oil on canvas

Court, 100 x 70 cm, oil on canvas

Ghosts, 100 x 70 cm, oil on canvas

Ghosts, 100 x 70 cm, oil on canvas

Ruin, 100 x 70 cm, oil on canvas

Ruin, 100 x 70 cm, oil on canvas

Trespass II, 100 x 70 cm, oil on canvas

Trespass II, 100 x 70 cm, oil on canvas

2015

Spooks / Who you were tomorrow

In 'Spooks/ Who you were tomorrow' Colin Waeghe constructs an open narrative in which he combines different associations. Building further upon the ideas of the Crystal Palace series, his investigation takes him from a ghost light in Memphis, over the ruins of the Crystal Palace, to the crystal meth labs and Godzilla movies.

Who you were tomorrow, 100 x 70 cm, ink on paper

Who you were tomorrow, 100 x 70 cm, ink on paper

Black Hideout, 2015100 x 70 cm, ink on paper

Black Hideout, 2015100 x 70 cm, ink on paper

Ethardo, 100 x 70 cm, ink on paper

Ethardo, 100 x 70 cm, ink on paper

Farewell, 55 x 65 cm, ink on paper

Farewell, 55 x 65 cm, ink on paper

Crystal Ship, 55 x 65 cm, ink on paper

Crystal Ship, 55 x 65 cm, ink on paper

Mirror, 55 x 65 cm, ink on paper

Mirror, 55 x 65 cm, ink on paper

Still, 55 x 65 cm, ink on paper

Still, 55 x 65 cm, ink on paper

2014

Nobody but you

Colin Waeghe has been living in Leipzig since 2013. This makes an impression on an artist, that is to say a sensitive sensory system. The current coloured facades nonetheless betray the East German period. Do walls still have ears? The traces of the curtain have not yet been erased. Your steps are slightly more cautious when you walk in town, for fear to get caught in the mill. Aren't people being followed, eavesdropped on? That is certainly the case once you have visited the 'Museum in der Runden Ecke'. You do not feel too well for a spell. 'In the round corner' was not the name of a catering firm, like the 'Scheve lavabo' in Brussels, but the headquarters of the Stasi, the secret police. The rooms have not been embellished; they have remained the way they were left in 1989. That sets the tone. There are moreover all sorts of materials that attest to how inventive man can be when it comes to repressing fellow human beings who have different opinions and limiting the freedom to express them. How clever people can be when they want to find out secrets and to spy. And how people under duress can become more articulate without any lessons in diction, but through precise techniques that are not easily forgotten. Colin Waeghe visits the museum regularly and puts his impressions on canvas. That is the theme of this series. Entitled 'Nobody but you', it sounds like an advertising or propaganda slogan: 'Nobody but you can make the difference' 'vote for us or buy our product'. What lingers is the penetration of the message in the private domain and the appropriation thereof.

Model Termin 70X100cm, oil on canvas

Model Termin 70X100cm, oil on canvas

Kommunikation in blau 50X60cm, oil on canvas

Kommunikation in blau 50X60cm, oil on canvas

Kommunikation in grün 50X60cm, oil on canvas

Kommunikation in grün 50X60cm, oil on canvas

Kommunikation in rot 50X60cm, oil on canvas

Kommunikation in rot 50X60cm, oil on canvas

Model Bahnhof 70X100 2014, oil on canvas

Model Bahnhof 70X100 2014, oil on canvas

Model Cradle 24X30cm, oil on canvas

Model Cradle 24X30cm, oil on canvas

Model Sicherheit 120x130cm, oil on canvas

Model Sicherheit 120x130cm, oil on canvas

Event#1 Dyptich 24X30cm, oil on canvas

Event#1 Dyptich 24X30cm, oil on canvas

Event#1 Dyptich 24X30cm, oil on canvas

Event#1 Dyptich 24X30cm, oil on canvas

2013

Nomadia

"Nomadia" is een utopisch land waar wetenschap en verbeelding hand in hand gaan. In deze reeks portretteert Waeghe Nomadia's landschappen, zijn inwoners, kastelen en koningen, zijn leger en vloot. De reeks is een reflectie over afstand en identiteit, politiek en wetenschap.