Lawrence Van Hagen

I am looking for a place where I can truly escape and immerse myself in my collection. I also like the idea that one might not see works of art that I collect in an African remote setting.

Chad, specifically the area near the Anoa Oasis in the Borkou region, might seem unexpected, but it spoke to me on a deep level. It's remote, wild, and utterly breathtaking. The stark beauty of the landscape, the vast open spaces.

The Anoa Oasis itself is a natural wonder, a lush haven in the heart of the desert. It's a symbol of resilience and the enduring power of nature. Building a foundation here would allow me to create a space where art and nature could coexist in harmony, a place where the few visitors that ever venture in that area of the world could experience art in a completely new context.

I believe that true creativity thrives in unexpected places. I hope to foster a new kind of dialogue, one that's not bound by traditional expectations or geographic limitations.

Choosing a vernacular style was a deliberate decision, a way to honour the traditions and craftsmanship of the region while creating a space that feels truly authentic and grounded.

The vernacular architecture of Chad, with its earthy tones, organic materials, and ingenious use of natural light and ventilation, is a testament to the resilience and ingenuity of the Chadian people. It's a style that's evolved over centuries to adapt to the harsh desert climate, and anything else here would have felt forced and out of context.

By embracing this style, I wanted to create a space that felt rooted in its surroundings, a place that seamlessly blended with the landscape and reflected the spirit of the local community. I believe that architecture should tell a story, and in this case, the story is one of cultural exchange and mutual respect.

While trends come and go, I'm drawn to pieces that possess a certain timelessness, a universality that transcends fleeting fashions. I am drawn towards designers from the 60’s and 70’s who have been pioneers in their field at those times.

Choosing these specific works was an intuitive process, a blend of personal taste, intellectual curiosity, and a desire to create a dynamic dialogue within the collection. While the artists span different generations, mediums, and styles, there's a common thread that binds them together: a shared commitment to exploring the boundaries of perception, abstraction, and the nature of reality itself.

Take the works of James Turrell and Thomas Ruff, for example. Both artists challenge our conventional understanding of light, space, and the act of seeing. Turrell's mesmerizing light installations transport us to otherworldly realms, while Ruff's celestial photographs force us to confront the vastness and mystery of the cosmos.

WangShui's use of AI and their presence at the most recent Venice Biennale creates an interesting dialogue alongside works by masters such as Cy Twombly.

By bringing together these diverse voices, I hope to create a collection that's both challenging and rewarding, that sparks new conversations and inspires deeper engagement with the art. It's about creating a space where we can encounter the unexpected, where they can be surprised, moved, and perhaps even transformed by the power of art.

While this foundation is certainly a personal haven, a place where I can escape and reconnect in solitude, I also envision it as a space for connection and dialogue.

Much like my home in London, I see this foundation as a place to welcome friends and collectors. I believe that art has the power to bring people together, and I want this foundation to be a catalyst for those meaningful encounters.

Many of my closest friends today started as clients, people who were initially drawn to a work or a show, but who ultimately became kindred spirits, collaborators, and confidants. We share a mutual respect and admiration for art, a curiosity about the world, and a desire to create meaningful experiences.

This foundation in Chad would be an extension of that ethos.