Ugo Schildge (b.1987, Paris) graduated from The École nationale supérieure des Beaux-Arts in Paris in 2014. After trained by Giuseppe Penone and became the assistant of Bernard Moninot, Schildge worked independently and quickly developed a reflection on the articulation between image and movement.
To investigate the many faces of movement and the consequent image’s transformation, Schildge has grown a key interest in the cogwheel, a strong Industrial Revolution symbol highlighting the power of mechanics, and the best mechanisms able to reinvent the source of the image. In his most recent practices, cogwheels are transformed into “brushworks” while more attempts are made to explore new themes in nature and humanity.
The material is also a central element of his work: the artist associates for the sets of color natural pigments, clay and plaster. In this combination, the interaction is always uncertain and surprising. A dimension of uncertainty between the process of creation, and far from being an obstacle, the artist grasps it, to put the matter to the test of equilibrium.
Questioning the traditional form of a work, blurring the border between painting and sculpture, canvas and media, control and freedom, the artist invites the viewer to a perpetual come and go between figurative and abstract, conscious and unconscious, technique and illusion. Schildge’s work has been exhibited in galleries and art centers in France, Canada, Brazil and US.
To investigate the many faces of movement and the consequent image’s transformation, Schildge has grown a key interest in the cogwheel, a strong Industrial Revolution symbol highlighting the power of mechanics, and the best mechanisms able to reinvent the source of the image. In his most recent practices, cogwheels are transformed into “brushworks” while more attempts are made to explore new themes in nature and humanity.
The material is also a central element of his work: the artist associates for the sets of color natural pigments, clay and plaster. In this combination, the interaction is always uncertain and surprising. A dimension of uncertainty between the process of creation, and far from being an obstacle, the artist grasps it, to put the matter to the test of equilibrium.
Questioning the traditional form of a work, blurring the border between painting and sculpture, canvas and media, control and freedom, the artist invites the viewer to a perpetual come and go between figurative and abstract, conscious and unconscious, technique and illusion. Schildge’s work has been exhibited in galleries and art centers in France, Canada, Brazil and US.
