2022/06/09 - 2022/06/25
8 rue d’Aboukir - 75002 Paris
8 rue d’Aboukir - 75002 Paris
Sleeping under the trees... the nap is a vigil during which our brain invents the most incredible scenarios.
The paradoxical sleep is the one that induces dreams, our mind uninhibitedly spreads its desires, its sorrows and its contradictions. The new series by Ugo Schildge synthesizes several years of research around Nature and the human body by introducing surreal elements into the composition that prevent us from positioning ourselves in time or space.
Faithful to his practice of timelessness, the artist evokes his phantasmagorical visions, those which come to him in dreams and which under an apparent incoherence, are the reflection of his unconscious. Ugo Schildge used to draw from an external repertoire, takes an introspective turn and lets us glimpse a part of himself that was foreign to us.
Recomposing the dream, however, induces taking again the control of the images and sensations experienced, so this is an interpretation more than a transcription. Ugo Schildge's technique takes time and requires amount of labor and patience - cutting and modeling the wood strips, embedding them, applying the concrete liquid and pigmented material, letting it dry... this methodical work is in essence opposed to the rapid and intuitive expression of the dream. The compositions are thought out, structured and evoke as usual an amalgam of various mythologies.
Contrary to a widespread belief, the dream is not a film, it is not "in motion", the dream is characterized by a succession of fixed images which form in a few seconds these strange sequences which illustrate our sleep . The artist works in the same way, his works are a superposition of images with no apparent link that he assembles to create a new Truth, a new Beauty.
Ugo Schildge also introduces the theme of the voyeur in the new work. He places himself as an observer of deeply intimate scenes. A voyeur of his own life, “La sieste à Giverny” is the first self-portrait of the artist in its own right. It evokes real and imaginary memories, invokes its own intimacy. This is the first time that the artist has given such a personal view of his work.
The other compositions in the series, notably "Suzanne" "Daphne" and the "Venus Anadyomene" freely refer to subjects from Greco-Roman mythology and Ovid's Metamorphoses. We find here the traditional inspirations of the artist. Ugo Schildge pushes further his homage to classical art with “Le dessert” whose architectural structure is reminiscent of the clumsy perspectives of the early Italian Quattrocento and primitive painters.
The inspiration of the artist, whether conscious or not, draws its source from the great subjects of the Art History. “We are the sum of our experiences” in the context of artistic experience, this addition of visual memories mixed with historical references places the artist in a very eclectic and deeply unique pictorial movement.
Ugo Schildge is neither a sculptor nor a painter, neither figurative nor abstract, neither realist nor surrealist, neither contemporary nor classical…
He draws from the universal repertoire to allow his work to echo everyone, he creates a new symbolic vocabulary, with the underlying ambition of calling us to resist the speed of our time. It invites us to take the time to sleep under the trees, to appreciate boredom, to listen to Nature and to love ourselves in its protective bosom.
The paradoxical sleep is the one that induces dreams, our mind uninhibitedly spreads its desires, its sorrows and its contradictions. The new series by Ugo Schildge synthesizes several years of research around Nature and the human body by introducing surreal elements into the composition that prevent us from positioning ourselves in time or space.
Faithful to his practice of timelessness, the artist evokes his phantasmagorical visions, those which come to him in dreams and which under an apparent incoherence, are the reflection of his unconscious. Ugo Schildge used to draw from an external repertoire, takes an introspective turn and lets us glimpse a part of himself that was foreign to us.
Recomposing the dream, however, induces taking again the control of the images and sensations experienced, so this is an interpretation more than a transcription. Ugo Schildge's technique takes time and requires amount of labor and patience - cutting and modeling the wood strips, embedding them, applying the concrete liquid and pigmented material, letting it dry... this methodical work is in essence opposed to the rapid and intuitive expression of the dream. The compositions are thought out, structured and evoke as usual an amalgam of various mythologies.
Contrary to a widespread belief, the dream is not a film, it is not "in motion", the dream is characterized by a succession of fixed images which form in a few seconds these strange sequences which illustrate our sleep . The artist works in the same way, his works are a superposition of images with no apparent link that he assembles to create a new Truth, a new Beauty.
Ugo Schildge also introduces the theme of the voyeur in the new work. He places himself as an observer of deeply intimate scenes. A voyeur of his own life, “La sieste à Giverny” is the first self-portrait of the artist in its own right. It evokes real and imaginary memories, invokes its own intimacy. This is the first time that the artist has given such a personal view of his work.
The other compositions in the series, notably "Suzanne" "Daphne" and the "Venus Anadyomene" freely refer to subjects from Greco-Roman mythology and Ovid's Metamorphoses. We find here the traditional inspirations of the artist. Ugo Schildge pushes further his homage to classical art with “Le dessert” whose architectural structure is reminiscent of the clumsy perspectives of the early Italian Quattrocento and primitive painters.
The inspiration of the artist, whether conscious or not, draws its source from the great subjects of the Art History. “We are the sum of our experiences” in the context of artistic experience, this addition of visual memories mixed with historical references places the artist in a very eclectic and deeply unique pictorial movement.
Ugo Schildge is neither a sculptor nor a painter, neither figurative nor abstract, neither realist nor surrealist, neither contemporary nor classical…
He draws from the universal repertoire to allow his work to echo everyone, he creates a new symbolic vocabulary, with the underlying ambition of calling us to resist the speed of our time. It invites us to take the time to sleep under the trees, to appreciate boredom, to listen to Nature and to love ourselves in its protective bosom.