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‘I view this artistic practice partly as a method or condition for being in this world. It is sometimes misinterpreted in the art world that I am not concerned with the result. I think that for me, doing actions, imagining things, and taking positions is an exercise that is to my advantage , and hopefully to the other person’s as well.’ 

- Vaast Colson

In his work, Vaast Colson constantly questions the relationship with the public and the authentic or inauthentic mysticism of the artist's existence. In 2004, Colson created Helena: The Paintings Martin Couldn’t Paint Anymore, a series of 12 portraits of the 15-year-old daughter of German artist Martin Kippenberger ( 1953-1997) . It is a direct reference to Kippenberger’s work Jaqueline: The Paintings Pablo Couldn’t Paint Anymore, which he created in 1996 as a tribute to Pablo Picasso and his wife Jaqueline. Colson’s work too is a homage, but to Kippenberger. At the same time, it is an exercise in trying to get closer to the legacy of his idol by copying his working method, technique, and use of materials. Since 2006, the series of portraits has been preserved in Helena Sculpture, an installation that serves as a vault. The box may be opened only once a year: on 24 August, Helena’s birthday.

‘I love doing something from inability. (…) By doing things you do not fully master, you arrive at places you cannot predict. That is also a kind of poetics.’ 

- Vaast Colson