Born in 1980 in Masaka (Uganda), Collin Sekajugo lives and works in Kampala (Uganda).
 
Born of Ugandan and Rwandan heritage, Collin Sekajugo has produced a broad body of work in which the question of the human condition is central. The complex compositions of his 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, applying collage as a painterly means, along with a variety of other techniques.
 
Collin Sekajugo approaches his work from a distinct, aesthetic departure point that resides in his repeated return to pop culture and the omnipresent influence exuded by the global mainstream, conversing and critiquing its many biases across visual, oral and digital cultures. Since 2012, Sekajugo has worked with the manipulation of the common stock image to reveal its inherent biases of entitlement and privilege largely modelled on the Western self. Sekajugo's artistic practice highlights a contemporaneous anthropological reversal of this mainstream culture through the lens of a decidedly African sense for irreverence and play on the ad-hoc. Conceptually, the works of Sekajugo become pure theatre, a hacking of identity that exposes some truths behind these stock images that quietly continue to colonise the entire globe by the weight of their own popularity.
 
Through the portraits of his Call Centre series, exhibited in the Uganda National Pavilion at the 59th Venice Biennale in 2022, the artist lifts the veil on re-colonialism at the dawn of the third millennium, and its further consolidation into subjugation of peoples due to the emergence of new technologies, presenting the notion of the digital plantation.
Collin Sekajugo's profound questioning of social, cultural, political and economic issues also affords a new and more nuanced look at the notion of community building. Sekajugo's firm social commitment led him to use his artistic practice as a lever for social rehabilitation through the creation of a collaborative space dedicated to the visual arts in Kigali, Rwanda,  in 2006 named Ivuka (rebirth in the local language). Building on his success, Collin Sekajugo exported this model to his hometown Masaka in southern Uganda in 2010, where it has become the nerve centre of the city's artistic and cultural life.
 
In 2022, Sekajugo’s work was featured in the exhibition Radiance, They Dream in Time, which took place in the Uganda National Pavilion at the 59th Venice Biennale. Uganda’s first ever appearance at this event, curated by Shaheen Merali, resulted in a special mention by the biennale jury for Collin Sekajugo and his fellow artist Acaye Kerunen for their outstanding contribution in the form of a national pavilion, together with France.
Sekajugo has enjoyed numerous solo exhibitions including COLLIN SEKAJUGO at the Galerie Moderne Silkeborg (Silkeborg, Denmark, 2021), What is Beautiful at the Afriart Gallery (Kampala, Uganda, 2018), The Fist of Stella Nyanzi at the Weaver Bird Art Space (Kampala, Uganda, 2016), Baba Mweusi at the Ivuka Arts Center (Kigali, Rwanda, 2013) Sekaplastic at the Kuona Trust Art Center (Nairobi, Kenya, 2012) As Rwanda Turns at the Goethe Institute (Kigali, Rwanda, 2010) and Rwandan Jazz at Closer Look (Chicago, USA, 2009).
 
In recent years, the artist has been featured in collective exhibitions such as Layered Histories with Kaloki Nyamai at Gallery1957 (London, UK, 2022), Contrasts at Ars Belga (Brussels, Belgium, 2021), VOICES at Studio 525 (New York, USA, 2020), Playing to the Gallery at the Afriart Gallery (Kampala, Uganda, 2020), Young Guns, organised by Andrew Lamprecht at Sulger-Buel Lovell (London, UK, 2018), Uhuru at the Eclectica Contemporary (Cape Town, South Africa, 2016) and Vitality From Kampala at the Little Art Gallery (Nairobi, Kenya, 2015).
 
Collin Sekajugo's works are included in the collections of the Smithsonian National Museum of African Art (Washington DC, USA), Chazen Museum of Art, (Madison, USA) and numerous prominent private collections around the world. Sekajugo is also the recipient of the 2019 Chapter Four Human Rights Award Uganda.