The complex compositions of Collin Sekajugo’s works are constructed like meeting spaces: employing expressive gestures and a bright chromatic palette, the artist inserts everyday objects – newspaper clippings, flyers and denim fabric – and cultural materials of Ugandan origin such as bark-cloth and polypropylene bags. Personal narratives and strong political messages emerge from these clever overlays. Since 2012, Sekajugo has worked with the manipulation of stock images to reveal their inherent biases of entitlement and privilege largely modelled on the Western self. Conceptually, the works expose some truths behind these stock images that quietly continue to colonise the entire globe by the weight of their own popularity. In his ‘Call Centre’ series, exhibited in the Uganda National Pavilion at the 59th Venice Biennale in 2022, the artist lifted the veil on re-colonialism at the dawn of the third millennium, and its further consolidation into the subjugation of peoples due to the emergence of new technologies, presenting the notion of the digital plantation. 

In 2007, Sekajugo established a collaborative visual arts space for social rehabilitation in Kigali, Rwanda named Ivuka ‘rebirth’. Building on its success, Sekajugo exported the model to his hometown of Masaka in 2010, where it has become the nerve centre of the city’s artistic and cultural life. Sekajugo has enjoyed numerous solo exhibitions, most recently COLLIN SEKAJUGO, Galerie Moderne Silkeborg, Silkeborg (2021) and What is Beautiful, Afriart Gallery, Kampala (2018) and the artist has been featured in collective exhibitions such as Layered Histories with Kaloki Nyamai at Gallery 1957, London (2022) and Contrasts, Ars Belga, Brussels (2021), among many others.