Wastijn provokes the absurd contrast between the maniacally painted details and their magnification as wall posters or frescoes, turning small deviations into a visually almost grotesque commentary, not only on the Pentagon as an institution of power but especially on painting in general.
Blue Car works the other way around. A selection of publicity and promotional photos for cars from the 60s and 70s were painted over except for a few details.
With these retained details Wastyn wants to arrive at a different 'script'.
By painting over ready-made pictures, censoring the 'noise' and all human presence, Wastijn wants to play with the concept of authenticity and gives certain elements a more symbolic capacity.