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Overpowered by joy over my first museumshow in france, i broke into dance.
Music by @jeanchristophe.renault
Video @sandder (horribly cropped by me)
@museehospicecomtesse @lille3000
@galeriedroste @harlan_levey_projects
Studiotour late last year, while preparing for @artcolognefair and my collaboration with @jankathofficial with @harlan_levey_projects and @galeriedroste .
Video made by @lolo2k by moving a virtual camera through a 3d gaussian splatting model (what else).
Enjoy
UPCOMING
Tanz auf der Klinge - Hold me is the first monograph by the artist Willehad Eilers aka. Wayne Horse (* 1981, DE). The publication covers the years 2018 to 2023 and presents all the facets that make up Willehad Eilers’ universe - from blind drawings and graffiti to monumental oil paintings. Eilers’ pictorial worlds, which consist of grotesquely crude scenes, reveal a large dose of humour and at the same time open up a view into social abysses. Studio shots and photos from the artist’s everyday life provide an insight into the creative process. This visual journey is accompanied by interviews with the artist, short explanatory texts and notes, which often serve as the starting point for his works. The publication is published on the occasion of his solo show Bis ich schlafen kann / Jusqu’à ce que je puisse dormir, and will be available in our webshop from 9 December onwards.
The new Potloodcast is out now 🎙️✨
.
A new episode of the Potloodcast is live! In this episode, Floortje Smit interviews artist Willehad Eilers, also known as Wayne Horse 🎨
.
Born in Peine, Germany, Eilers emerged from the graffiti scene before studying at the Gerrit Rietveld Academy and Rijksacademie. Eilers is currently based in Amsterdam.
.
Working under the name Wayne Horse, he creates large-scale drawings, murals, and installations that capture moments where control begins to slip—bodies distort, identities dissolve, and ecstasy teeters on the edge of something darker. His chaotic party scenes reveal a raw, unguarded world where desire and excess collide, balanced between euphoria and grotesque transformation. Even on the brink of collapse, there’s a strange, unsettling beauty—like dancing on the edge of a volcano 🪩🌋
.
Here’s a snippet from the interview:
.
“But even though I try to give sympathy to whatever I paint, it’s undeniable that I’m looking from a certain angle at the scenes that I depict. Not everybody sees it like this—and that’s the beauty of it. That’s my truth, but it doesn’t matter. I don’t want to add explanations next to the work. Once it’s out there, everybody’s truth is valid. Every interpretation is just as true as mine.”
@hku @waynehorse @kapitaal @westergas @Rijskacademie @rietveldacademie #murals #oilpainting #illustratieambassade
The new Potloodcast is out now 🎙️✨
.
A new episode of the Potloodcast is live! In this episode, Floortje Smit interviews artist Willehad Eilers, also known as Wayne Horse 🎨
.
Born in Peine, Germany, Eilers emerged from the graffiti scene before studying at the Gerrit Rietveld Academy and Rijksacademie. Eilers is currently based in Amsterdam.
.
Working under the name Wayne Horse, he creates large-scale drawings, murals, and installations that capture moments where control begins to slip—bodies distort, identities dissolve, and ecstasy teeters on the edge of something darker. His chaotic party scenes reveal a raw, unguarded world where desire and excess collide, balanced between euphoria and grotesque transformation. Even on the brink of collapse, there’s a strange, unsettling beauty—like dancing on the edge of a volcano 🪩🌋
.
Here’s a snippet from the interview:
.
“But even though I try to give sympathy to whatever I paint, it’s undeniable that I’m looking from a certain angle at the scenes that I depict. Not everybody sees it like this—and that’s the beauty of it. That’s my truth, but it doesn’t matter. I don’t want to add explanations next to the work. Once it’s out there, everybody’s truth is valid. Every interpretation is just as true as mine.”
@hku @waynehorse @kapitaal @westergas @Rijskacademie @rietveldacademie #murals #oilpainting #illustratieambassade
See the red room series. On till tomorrow night. (Saturday 16th) with @management.nyc at @esther.newyork
See the red room series. On till tomorrow night. (Saturday 16th) with @management.nyc at @esther.newyork
See the red room series. On till tomorrow night. (Saturday 16th) with @management.nyc at @esther.newyork
See the red room series. On till tomorrow night. (Saturday 16th) with @management.nyc at @esther.newyork
Some details of my work ‚Der Hampelmann‘ now on view at @esther.newyork with @management.nyc
On till sunday!
Some details of my work ‚Der Hampelmann‘ now on view at @esther.newyork with @management.nyc
On till sunday!
Some details of my work ‚Der Hampelmann‘ now on view at @esther.newyork with @management.nyc
On till sunday!
Some details of my work ‚Der Hampelmann‘ now on view at @esther.newyork with @management.nyc
On till sunday!
Some details of my work ‚Der Hampelmann‘ now on view at @esther.newyork with @management.nyc
On till sunday!
Some details of my work ‚Der Hampelmann‘ now on view at @esther.newyork with @management.nyc
On till sunday!
Some details of my work ‚Der Hampelmann‘ now on view at @esther.newyork with @management.nyc
On till sunday!
Some details of my work ‚Der Hampelmann‘ now on view at @esther.newyork with @management.nyc
On till sunday!
Some details of my work ‚Der Hampelmann‘ now on view at @esther.newyork with @management.nyc
On till sunday!
THE LIFE AND DEATH OF LIFE AND DEATH
“Various attempts at escaping the unanswerable question: what happens after death. We are scared, loud, violent, and unbearable. As a mass. As individuals lost in a search for trust. Something to hold onto.
Religion, material success, dominance, intellect, anything to create the illusion of defeating time. All distraction. All bound to fail. All relatable.
The headless chicken is running.”
— Willehad Eilers
—
Willehad Eilers
Cruel Summer
11 April – 8 June 2026
Buysse Gallery, Knokke
-
Image(s) © Willehad Eilers. Courtesy the artist and Harlan Levey Projects / Buysse Gallery. All rights reserved.
THE LIFE AND DEATH OF LIFE AND DEATH
“Various attempts at escaping the unanswerable question: what happens after death. We are scared, loud, violent, and unbearable. As a mass. As individuals lost in a search for trust. Something to hold onto.
Religion, material success, dominance, intellect, anything to create the illusion of defeating time. All distraction. All bound to fail. All relatable.
The headless chicken is running.”
— Willehad Eilers
—
Willehad Eilers
Cruel Summer
11 April – 8 June 2026
Buysse Gallery, Knokke
-
Image(s) © Willehad Eilers. Courtesy the artist and Harlan Levey Projects / Buysse Gallery. All rights reserved.
THE LIFE AND DEATH OF LIFE AND DEATH
“Various attempts at escaping the unanswerable question: what happens after death. We are scared, loud, violent, and unbearable. As a mass. As individuals lost in a search for trust. Something to hold onto.
Religion, material success, dominance, intellect, anything to create the illusion of defeating time. All distraction. All bound to fail. All relatable.
The headless chicken is running.”
— Willehad Eilers
—
Willehad Eilers
Cruel Summer
11 April – 8 June 2026
Buysse Gallery, Knokke
-
Image(s) © Willehad Eilers. Courtesy the artist and Harlan Levey Projects / Buysse Gallery. All rights reserved.
THE LIFE AND DEATH OF LIFE AND DEATH
“Various attempts at escaping the unanswerable question: what happens after death. We are scared, loud, violent, and unbearable. As a mass. As individuals lost in a search for trust. Something to hold onto.
Religion, material success, dominance, intellect, anything to create the illusion of defeating time. All distraction. All bound to fail. All relatable.
The headless chicken is running.”
— Willehad Eilers
—
Willehad Eilers
Cruel Summer
11 April – 8 June 2026
Buysse Gallery, Knokke
-
Image(s) © Willehad Eilers. Courtesy the artist and Harlan Levey Projects / Buysse Gallery. All rights reserved.
THE LIFE AND DEATH OF LIFE AND DEATH
“Various attempts at escaping the unanswerable question: what happens after death. We are scared, loud, violent, and unbearable. As a mass. As individuals lost in a search for trust. Something to hold onto.
Religion, material success, dominance, intellect, anything to create the illusion of defeating time. All distraction. All bound to fail. All relatable.
The headless chicken is running.”
— Willehad Eilers
—
Willehad Eilers
Cruel Summer
11 April – 8 June 2026
Buysse Gallery, Knokke
-
Image(s) © Willehad Eilers. Courtesy the artist and Harlan Levey Projects / Buysse Gallery. All rights reserved.
THE LIFE AND DEATH OF LIFE AND DEATH
“Various attempts at escaping the unanswerable question: what happens after death. We are scared, loud, violent, and unbearable. As a mass. As individuals lost in a search for trust. Something to hold onto.
Religion, material success, dominance, intellect, anything to create the illusion of defeating time. All distraction. All bound to fail. All relatable.
The headless chicken is running.”
— Willehad Eilers
—
Willehad Eilers
Cruel Summer
11 April – 8 June 2026
Buysse Gallery, Knokke
-
Image(s) © Willehad Eilers. Courtesy the artist and Harlan Levey Projects / Buysse Gallery. All rights reserved.
THE LIFE AND DEATH OF LIFE AND DEATH
“Various attempts at escaping the unanswerable question: what happens after death. We are scared, loud, violent, and unbearable. As a mass. As individuals lost in a search for trust. Something to hold onto.
Religion, material success, dominance, intellect, anything to create the illusion of defeating time. All distraction. All bound to fail. All relatable.
The headless chicken is running.”
— Willehad Eilers
—
Willehad Eilers
Cruel Summer
11 April – 8 June 2026
Buysse Gallery, Knokke
-
Image(s) © Willehad Eilers. Courtesy the artist and Harlan Levey Projects / Buysse Gallery. All rights reserved.
A series of ink drawings by Willehad Eilers presented in a triptych configuration.
As Willehad Eilers notes: “Moments in time. Wishes in combination with the harsh truth. Like in the old Batman series, the tilted horizon indicates that we are at a breaking point.”
While each work functions as an autonomous composition, the grouping establishes a continuous visual rhythm. Linear gestures unfold across the surfaces with immediacy, creating a dialogue between fragmentation and cohesion. This presentation reflects a broader unity within the body of work developed for Knokke, where individual scenes remain distinct yet interconnected through their shared language of line and perception.
—
Willehad Eilers
Cruel Summer
11 April – 8 June 2026
Buysse Gallery, Knokke
-
Image(s) © Willehad Eilers. Courtesy the artist and Harlan Levey Projects / Buysse Gallery. All rights reserved.
A series of ink drawings by Willehad Eilers presented in a triptych configuration.
As Willehad Eilers notes: “Moments in time. Wishes in combination with the harsh truth. Like in the old Batman series, the tilted horizon indicates that we are at a breaking point.”
While each work functions as an autonomous composition, the grouping establishes a continuous visual rhythm. Linear gestures unfold across the surfaces with immediacy, creating a dialogue between fragmentation and cohesion. This presentation reflects a broader unity within the body of work developed for Knokke, where individual scenes remain distinct yet interconnected through their shared language of line and perception.
—
Willehad Eilers
Cruel Summer
11 April – 8 June 2026
Buysse Gallery, Knokke
-
Image(s) © Willehad Eilers. Courtesy the artist and Harlan Levey Projects / Buysse Gallery. All rights reserved.
A series of ink drawings by Willehad Eilers presented in a triptych configuration.
As Willehad Eilers notes: “Moments in time. Wishes in combination with the harsh truth. Like in the old Batman series, the tilted horizon indicates that we are at a breaking point.”
While each work functions as an autonomous composition, the grouping establishes a continuous visual rhythm. Linear gestures unfold across the surfaces with immediacy, creating a dialogue between fragmentation and cohesion. This presentation reflects a broader unity within the body of work developed for Knokke, where individual scenes remain distinct yet interconnected through their shared language of line and perception.
—
Willehad Eilers
Cruel Summer
11 April – 8 June 2026
Buysse Gallery, Knokke
-
Image(s) © Willehad Eilers. Courtesy the artist and Harlan Levey Projects / Buysse Gallery. All rights reserved.
A series of ink drawings by Willehad Eilers presented in a triptych configuration.
As Willehad Eilers notes: “Moments in time. Wishes in combination with the harsh truth. Like in the old Batman series, the tilted horizon indicates that we are at a breaking point.”
While each work functions as an autonomous composition, the grouping establishes a continuous visual rhythm. Linear gestures unfold across the surfaces with immediacy, creating a dialogue between fragmentation and cohesion. This presentation reflects a broader unity within the body of work developed for Knokke, where individual scenes remain distinct yet interconnected through their shared language of line and perception.
—
Willehad Eilers
Cruel Summer
11 April – 8 June 2026
Buysse Gallery, Knokke
-
Image(s) © Willehad Eilers. Courtesy the artist and Harlan Levey Projects / Buysse Gallery. All rights reserved.
A series of ink drawings by Willehad Eilers presented in a triptych configuration.
As Willehad Eilers notes: “Moments in time. Wishes in combination with the harsh truth. Like in the old Batman series, the tilted horizon indicates that we are at a breaking point.”
While each work functions as an autonomous composition, the grouping establishes a continuous visual rhythm. Linear gestures unfold across the surfaces with immediacy, creating a dialogue between fragmentation and cohesion. This presentation reflects a broader unity within the body of work developed for Knokke, where individual scenes remain distinct yet interconnected through their shared language of line and perception.
—
Willehad Eilers
Cruel Summer
11 April – 8 June 2026
Buysse Gallery, Knokke
-
Image(s) © Willehad Eilers. Courtesy the artist and Harlan Levey Projects / Buysse Gallery. All rights reserved.
A series of ink drawings by Willehad Eilers presented in a triptych configuration.
As Willehad Eilers notes: “Moments in time. Wishes in combination with the harsh truth. Like in the old Batman series, the tilted horizon indicates that we are at a breaking point.”
While each work functions as an autonomous composition, the grouping establishes a continuous visual rhythm. Linear gestures unfold across the surfaces with immediacy, creating a dialogue between fragmentation and cohesion. This presentation reflects a broader unity within the body of work developed for Knokke, where individual scenes remain distinct yet interconnected through their shared language of line and perception.
—
Willehad Eilers
Cruel Summer
11 April – 8 June 2026
Buysse Gallery, Knokke
-
Image(s) © Willehad Eilers. Courtesy the artist and Harlan Levey Projects / Buysse Gallery. All rights reserved.
A series of ink drawings by Willehad Eilers presented in a triptych configuration.
As Willehad Eilers notes: “Moments in time. Wishes in combination with the harsh truth. Like in the old Batman series, the tilted horizon indicates that we are at a breaking point.”
While each work functions as an autonomous composition, the grouping establishes a continuous visual rhythm. Linear gestures unfold across the surfaces with immediacy, creating a dialogue between fragmentation and cohesion. This presentation reflects a broader unity within the body of work developed for Knokke, where individual scenes remain distinct yet interconnected through their shared language of line and perception.
—
Willehad Eilers
Cruel Summer
11 April – 8 June 2026
Buysse Gallery, Knokke
-
Image(s) © Willehad Eilers. Courtesy the artist and Harlan Levey Projects / Buysse Gallery. All rights reserved.
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