For Chloé Dugit-Gros, the articulation of language operates on the level of the image and of the visual signal. Referring often to urban cultural codes, her creations advance by the bringing together of formal elements to compose a narrative sketch. Inspired, at times, by journalistic archives, Chloé Dugit-Gros’ sculptures carry the stigmata of an event (What a blast!, ENSBA Paris 2006) or transpose a simple photograph of a little boy onto a lowering blackboard, to play with the contrast between material and scale. (Untitled, 2008, after a photo by José Girao 1980).
There are sketches denoting the processes which lead to the completion of the rooms, a little primer for the artist which regularly returns to lend coherence to the system of installation. Finally, like a red thread through the work, the American S which appears in almost all of Chloé Dugit-Gros’ exhibitions, represents a sort of gesture to mark the liberty of the workshop-less artist. Acting as curtains, or like a contemporary version of Jasper Jonhs’ targets, this symbol of adolescent hip-hop is divided among the working media, workshop table, recycled materials…
Isabelle Reiher 2009