HUBERTUS VON HOHENLOHE

Hohenlohe’s practice begins where most creative processes end: with the discarded, the overlooked, the thrown-away. From crumpled paper fragments and weather-creased posters to forgotten fabrics lying dormant in urban corners, the artist isolates these accidental formations and transforms them into compositions of striking texture, form, and unexpected colour. Operating in the tradition of Objet Trouvé, he does not so much create as he uncovers—revealing the beauty that time, chance, and abandonment have already inscribed.

This approach places Hohenlohe in a lineage that stretches back to Kurt Schwitters, who, in the wake of a fractured postwar world, sought to assemble new meaning from the remnants of material debris. Just as Schwitters’ Merz works elevated discarded matter into poetic structure, Hohenlohe’s Peinture Trouvée recasts the humble and the neglected as sites of revelation. His images echo Schwitters’ conviction that a fragmented world can be reimagined—not by erasing its fractures, but by transforming them into new forms of coherence and hope.

In Hohenlohe’s hands, every abandoned object becomes a portal: a reminder that painting can be discovered in the wild, waiting to be recognised rather than invented. The result is a quiet yet powerful meditation on perception, value, and the hidden aesthetics of everyday life.