Disclaimer : the images you are about to see are reproductions, they will never be able to render the quality of the colours of each object. Since you are looking this website on a screen, you will not see the fluorescences, the golds and silvers, the raster work, etc. Please find on the right a scheme that will allow you to see the dimensions of each image.

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Fantômes Futur (Futur Ghosts), 2021 – 2022

Series of photographs printed in serigraphy on Arches BFK Rives paper 90 x 63 centimetres in 11 numbered copies. Titled in order of appearance: Refuge du matin, Métal fuyant, Point de bascule et L’oubli aussi est important. The two last images are not of the same format: on the left Voilà l’orage (2022, 21 x 30 cm, silkscreen on Arches BFK Rives paper 170g, 41 copies) on the right Flotter (2022, 15 x 21 cm, silkscreen on Arche BFK Rives paper 170g, 120 copies)

« Faced with climate change, Hugo Janin proposes to think of the artist’s role as that of a messenger. The Fantômes Futur series brings together images which, by addressing our emotions, help us to become aware of the reality to come » Camille Boisaubert, editor.

Fantômes Futur – N.1 Refuge du matin
Aperiodical publication in progress and edited by Les murmurations (Paris), A4 folded A2 open printed in risography at 200 copies. Taking up the silkscreen of my eponymous work, this project is both a complement and an autonomous object. For the next issues, other authors from various disciplines will be invited to participate. Next guests: Lucas Brunet, sociologist, and Agathe Saint-Maur, writer.

Au creux de l’eau sourde (In the hollow of the dull water), 2021
This image is the result of a two-month stay in Marseille this winter, and the chance to enjoy the peace and quiet of the sea. However, this pleasure is also accompanied by a sadness, by the awareness of what is happening several hundred kilometres away, this feeling that this sea, so beautiful from the safety of the mainland, is an immense danger for so many others. This is what I wanted to express in this image, an impression of both attraction and threat.

Columba livia, 2020

Series of eleven photographs silkscreen printed on Velin Arches BFK Rives 300g/m² 120 x 80 centimetres. Signed and numbered, limited to 5 copies. In this work, the animal acquires the dual status of messenger and message, the first for its historical role and the second in the auspices it embodies. From the accident that freezes it into a pattern emerges a drawing containing a part of the expression of the universe; this image, oscillating between present and heritage, bears witness to a pivotal passage in which omens are outlined.

L’ombre d’un doute (Shadow of a doubt), 2020

“A thought for you during my journey, I can’t wait to tell you all about it. Thank you for the books, they accompany my walks well. A photo reminded me of our last conversation. You will understand”.
L’ombre d’un doute is a black and white edition of a hundred pages, printed at the end of 2020 and limited to 50 copies. It presents a body of photographs taken between 2018 and 2020 in Brussels and especially its outlying suburbs, as well as during walks and cycle rides in the French, Belgian, Dutch and Luxembourg countryside.

Dislocation, 2018

In 2018, I had the opportunity to do a residency at the Frans Masereel centre in Kasterlee. I went there by bike and it was like a journey of initiation. I didn’t know it yet but this residence marked the beginning of my photographic practice. I co-directed with Marie Theurier the edition Dislocation which concludes these two weeks of research, with Romain Zacchi, Harold Lechien, Johannes Unger, Matthias Gysen, Lieke Winter, Brend Geudens, Anke Cleiren, Leen Nuyts, Alexandra Majzel, Shan Jia and Stéphanie Muller.

Pour une esthétique de la sérigraphie artisanale (For an aesthetic of screenprinting), 2017

University research thesis in Fine Arts, this paper is a condensed of historical and technical knowledge on screenprinting, leading to an aesthetic analysis of the dinstinctive features of this medium. Based on numerous references as well as some of the author’s experiments, the book promotes screenprinting as an artistic technique in its own right, and not only as a means of reproduction.
Download .pdf file (266 pages – french only).