b.1988 lives in Paris.
One might argue that Hugo Avigo’s work exists at the cross roads of “straight forward” and “actually not-really straight forward at all”. Often combining a brutal and heavy technical approach to presenting everyday artefacts, his subjects become allegorical to the implications of the items themselves. A road becomes a path, the bed dancing in the frame is unmade, the drink on the dresser is half full, or half empty. Is the cocktail in a glass the poison or the antidote?
These icons of mundane routine evoke and explore something tragically human and the sense of responsibility of an interpretation is laid upon the viewer. The lights inside are left on. Avigo plays with the sense of suspense, nostalgia and anticipation using a nonchalant master approach to technique which renders everything, well, charming.
His flashbang colour palette borders on the grotesque, almost nauseating, yet behind the warped figure before you, there is empathy for these used and crooked pieces. Almost as if they have been dug up by some future society and placed before us in order to learn, via proxy, of the routines of civilizations long gone.
The absence of orientation is the common denominator. Disorientation is the currency in which these situations traffic.
Twilight is the compass, which begs the question, which way are we headed, toward the long night or the brand-new day?
Sparkling fireworks and tacky festivities illuminate the sky, but we are unaware if we are welcoming a new digital area or saying goodbye to the archaic sense of togetherness, balancing on the fine line between the illusion of death and life.
Here, the idea of carelessness is simply a carefully implied illusion. Avigo takes the path of most resistance with the sole purpose of materializing the simple caress that can define an object in an instant.
The luxury of waste of time, material, knowledge used incorrectly to present the most perfect ersatz of fine art.
In the end, we are presented with the all-inclusive celebration of excessive bad decisions. If you have to ask, you’ve missed the point. If you’ve missed the point, that’s fine too. But when all is said and done, we can return to the magnitude of the work, which invites a silent subscription. Then, Avigo’s subjects converse with themselves in their own language, and our role is just to observe and enjoy, and then be on our merry way.
Text by Jack Rothert
2020 Living Room, Galerie Jérome Pauchant, Paris
Detour, 726 N Maple, Los Angeles
Room 236, curatrice Anne Bourassé, Galerie Chloé Salgado, Paris
That empty shop across the street, let us in #2, Clichy
Your friends and neighbors, High Art, Paris
So close, Gallerie Joseph, Paris
Bodega, with Thomas Ballouey, Poush, Clichy
La Totale, Les Moulins, Boisy le Chatel
Embrace your weirdness, Confort mental, Paris
2019 Parties de golf dans le désert, curateur : Neil Beloufa, Atelier de Neil Beloufa, Saint-Denis
Space is Lost, curateur : Yvannoé Kruger, Boon, Paris
Cette histoire que l’on découvre en creusant la terre, l’Orfévrerie, Saint-Denis
Collapso, collaboration avec Le grand Bain Paris et Zoé Lockard, Villecien
Let us in, Clichy
Exposition Automatique : pas de raison, Paris
I must not be ashamed to be the first to take cover, Karl Marx studio, Paris
Tropic Thunder, collaboration avec la Maison Pompidou, Cajarc, France
2018 Fey ART, Villecien, France
La confidentielle, curatrice : Morgane Tschiember, la Station Paris
Les Caillé(e) s, curatrice : Margaux Bonopera et Flora Fettah, Paris
2017 European Painter Tour (solo show), TONUS, Paris
Rèvez 2, Collection Yvon Lambert, Avignon
Join us in the ramp, Paris Internationale , Paris
Museum Show, NEW DAY GALLERY, Berlin
PRIX / BOURSES
2019 FoRTE #2 Fonds Régional pour les Talents Émergents,
Jury : Jean de Loisy, Jennifer Flay, Magda Danysz, Eva Jospin, Florence Berthout
BA Central Saint Martins, London
MA Ecole des Beaux-Arts de Paris with jury honors