First a minimalist and appropriationist painter, I slowly learned to get carried away. Each paint is the only paint you could do: if it works, it's that they have no other way to go. Caught in a current of baine, no resistance should be opposed. I will be picked up off the coast.

For its summer exhibition, La BF15 is pleased to present Winter Tale, a set of recent productions by Hugo Pernet which brings together “figures and subjects clearly anchored in black romanticism: horses, storms, tortured family relationships, burials, full moons, dark mountains, icy old pink and bluish green chromatism. You could almost hear the wind howling high on the heather moors. But the verb to connect is probably not appropriate here. It should rather be said that a universe exists between these paintings like a synthesizer tablecloth, or above, and very probably below also, since in their composition, the subjects protrude a little down, in a sculptural gesture that creates an off-screen at the foot of the tables.
This universe has imposed itself on the artist, as he suggests when he portrays himself as a passive subject, acted by "something that grows by itself" so that "the series was created from table to table". We remember that modernity has largely mocked the theories of inspiration, for the folk representations of the artist of which they were bearers: the idea of ​​being in the grip of an irrational force external to consciousness was bad press (which perhaps explains the rejection from which surrealism has long suffered). But rather than a magic world where the deities or the unconscious whisper directly their dictation in the ear of the poets, it could be that the term of “inspiration” refers to this simple principle: the autonomy of the forms (and what it does when you let it act). ” Jill Gasparina, extract from Rachel, exhibition Semiose gallery, project space, Paris 2019

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Hugo Pernet (