Hugo Guérin

Les sculptures d’Hugo Guérin avancent comme des corps qui tiennent autant de l’animal que de l’objet, de l’archétype que de sa déformation. On croit reconnaître une louve, une carcasse, des défenses, une figure humaine ; mais rien ne reste à sa place. La louve nourrit peut-être autant qu’elle menace. La carcasse devient tête, cocon. Les défenses semblent venir d’un âge plus ancien, presque mythique, tandis que, sur les restes d’un piano en ruine, des corps humains semblent tendre vers l’insecte.

Hugo Guérin’s sculptures emerge as forms that are as much animal as they are object, as much archetype as they are its distortion. One thinks one recognises a she-wolf, a carcass, tusks, a human figure; yet nothing remains in its place. The she-wolf perhaps nourishes as much as she threatens. The carcass becomes a head, a cocoon. The tusks seem to come from an older, almost mythical age, whilst, upon the remains of a ruined piano, human bodies seem to reach towards the insect.