père, mais Marie s’en sert comme point de départ pour de grandes compositions qui flirtent avec l’abstraction. Elle élabore une technique particulière à base de pigments et d’encre de Chine, qui dilue littéralement le motif, et comme son père qui était un coloriste hors pair, elle marie avec art les taches de couleurs. Lorsque le galeriste Pierre Passebon tombe par hasard sur une de ses œuvres, il est immédiatement séduit. En 2022, il lui consacre une première exposition que Marie intitule Promenons-nous dans les bois … Elle revient aujourd’hui avec une trentaine de nouvelles toiles réunies sous le titre Un été à l’atelier . Elles ont été effectivement
réalisées il y a quelques mois. « En été, le parc est inondé de soleil et il donne à voir un spectacle de formes abstraites qui dansent entre elles. Les tâches de lumière et les ombres sont alors de nouveaux éléments qui viennent habiter mes toiles posées au sol. » Avec son œil d’expert en arts décoratifs, Pierre Passebon a eu la bonne idée de lui demander de décliner cette poésie à travers des tables basses, des tabourets et des lampes, en céramique peinte et émaillée. Une façon de ne plus quitter le monde enchanté de Marie Hugo. • www.galeriedupassage.com Jusqu’au 15 novembre
landscapes. This is where Marie was born and, at a very young age, she first crossed the threshold of her father’s workshop. “I was cleaning with a little whisk broom, and when I’d finished, he showed me how to clean his brushes. When I was older, I prepared his canvasses for him.” And of course, she watched him paint… in silence. Her interest developed naturally and, at sixteen, Marie Hugo entered the Montpellier School of Fine Arts and specialized in lithography and engraving. After graduating, she left for Asia and learned about traditional Chinese art. Her first orders were for large murals for public spaces and hotels, while she also exhibited smaller works in galleries. For around ten years, her time was shared between Hong Kong and London. However, as her father’s health declined, she returned to Britain before heading back to the family farmhouse. “I even set up my easel next to him. He watched me working, and was very complimentary”. Jean Hugo died in 1984. His daughter took over the workshop and, after a figurative period, found her style. Like her father, nature would be at the heart of her inspiration, but Marie used it as a starting point for large compositions flirting with the abstract. She developed a particular technique based on pigments and Indian ink, which essentially diluted the pattern, and like her father, subtly added spots of colour. When gallery owner Pierre Passebon came across one of her works by chance, it was love at first sight. In 2022, he organized a first exhibition that Marie entitled Promenons-nous dans les bois ... She is back with around thirty new paintings brought together under the title Un été à l’atelier , or “a summer in the workshop”. They are, in keeping with the title, only a few months old. “In the summer, the park is bathed in sunshine and offers a remarkable spectacle of abstract forms seemingly dancing with each other. I put my canvasses on the ground, and they pick up the light and shadows”. With his expert eye for the decorative arts, Pierre Passebon had the excellent idea to ask her to transfer the result onto coffee tables, stools and lamps, in painted and enameled ceramic. Another way to share in Marie Hugo’s enchanting universe. • www.galeriedupassage.com Until November 15 th
Vue de l’atelier de Marie, qui était avant celui de son père, le peintre Jean Hugo.
L’arbre à fleurs jaunes, 38 × 61 cm.
Petite table en céramique Arbre bleu devant Platane bleu et parme, 130 × 86 cm.
Le Grand Jaune, 150 × 150 cm.
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