Nick Verhaeghe

Nick Verhaeghe’s work is a continual exploration of the intersections between memory, time, and the organic world. Through the use of natural and medicinal materials to develop film, he surrenders control over the final image, allowing natural processes to intervene and shape the outcome. This creates a tension between what is planned and what emerges, embodying Gilles Deleuze’s concept of multiplicity. The images become moments of transformation, where the boundaries between control and chance dissolve, revealing layers of meaning that speak to both the personal and universal. A recurring theme in Verhaeghe’s work is the relationship between memory and place. As he moves through different series, such as *Portals of Displacement* (POD), he constantly revisits the notion of belonging, displacement, and the traces that time leaves behind. *POD* is an expansive, ongoing series that will evolve throughout his life, much like the way memories shift and resurface over time. It mirrors the fluidity of human experience—memories, like portals, lead us to new spaces while remaining anchored in the past. While *POD* remains an open and evolving exploration, Verhaeghe finds balance in creating series with more defined borders. Works created during his residency in Italy, or other focused projects, offer a sense of completion and are contained within specific timeframes or narratives. These bounded series provide structure, grounding his practice in distinct experiences, while also feeding the larger narrative of *POD*. The work that does not fit into the defined narrative of a given series is absorbed into the ongoing exploration of displacement, memory, and the organic processes central to *POD*. Memory and familial bonds are at the heart of Verhaeghe’s practice. The act of photographing and working with natural elements often takes him back to his early years, where rituals became a way of connecting with the world around him. This personal dimension invites viewers to engage with his work on an intimate level, evoking familiar feelings of home, family, and the passage of time. Each of Verhaeghe’s artworks expresses a delicate balance between transformation and stasis. Elizabeth Grosz's philosophy of art as an open, dynamic process resonates deeply with his approach to creation. The materials he uses—whether plants, medicines, or metals—are not simply tools but active participants in the creation of each piece. These materials bridge the gap between nature and art, constantly changing and evolving, much like memories themselves. The organic developers derived from plants or medicinal substances introduce unpredictability, paralleling Schrödinger’s paradox, where the final image remains uncertain until fully revealed. In recent years, Verhaeghe’s experimentation with waste materials and alternative processes has led him to explore beyond the confines of two-dimensional works. The natural progression of his research has brought him closer to sculptural forms, where he transforms residual materials into three-dimensional pieces. This shift marks a growing interest in expanding his practice off the walls and into physical space, where materials like metals and organic compounds take on new life in sculptural explorations. These works reflect his ongoing fascination with cycles of creation, decay, and transformation, pushing his boundaries further into the material realm. The finishing process of each piece is essential to his practice. Every artwork is a one-of-one creation, unique and impossible to replicate, ensuring that each work possesses its own distinct identity and authority, much like a singular moment frozen in time. While POD remains a continuously evolving project, Verhaeghe feels a counter-impulse to create works with defined boundaries. These projects offer moments of resolution while simultaneously informing the broader, ongoing exploration that defines his life’s work. In essence, Verhaeghe’s practice is an evolving dialogue between past and present, memory and material, control and chance. Through the interplay of these forces, he seeks to create images that serve as portals—not only to other worlds but to the layered, multifaceted experiences that shape human existence.