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Hugo Janin’s work is situated in a blur between photography and painting throught silkscreen printing. He pictures objects and landscapes whose subject matter never shows humans, only a trace, and offers a graphic narrative interpretation that is both appealing and disturbing.
His approach is motivated by the conviction that a catastrophe has long since begun, but that the statistics that are supposed to alert us to it are unable to address our emotions. This is why, on the fringes of morality and reason, driven by an ambient uncertainty, he follows his intuition.
He claims the precious time of the walk as a moment of observation and reflection in which he gleans his images. These images make up a collection of suspended time and are presented as signs of which we are obliged to doubt, but which we cannot ignore. He learns the language of doubt, to read the omens of the past and to remember the future.
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