From May 28, 2026, Cuturi Gallery Paris will present its first monographic exhibition dedicated to artist and designer Hubert Le Gall. Conceived in collaboration with curator Bruno Gaudichon, the exhibition unfolds through a scenography inspired by the world of the forest.

Entitled “Arbres de la forêt, vous connaissez notre âme”, in reference to Victor Hugo’s poem “Aux arbres” (Les Contemplations, 1856), the exhibition offers an expanded interpretation of the text. The soul evoked here no longer refers solely to the human condition, but opens onto a broader conception of the living world, encompassing animal and natural dimensions.

Through this approach, Hubert Le Gall explores a form of silent presence running through landscapes, as though nature itself became a subject — bearer and guardian of a sensitive memory.

Each object in the exhibition is thus rooted in a singular geography, temporality, and imaginary world, where animal figures occupy a central place, acting as mediators between worlds:

• The goat-legged console “Milos” evokes ancient Greece and an archaic, raw, primordial nature.
• The cabinet “Osaka”, inhabited by cranes, opens toward Asia within a fluid and airy universe made of breaths and bubbles.
• The cabinet “Aurore”, inhabited by deer, evokes a soft and dreamlike European forest, close to the imagined landscapes of Le Douanier Rousseau.
• The wolf chandelier “Arbres de la forêt…” embodies a figure that is both protective and ambivalent, watching over a house nestled within a clearing that introduces human presence into this narrative. The gilded heads accompanying it, resembling spirits, extend its enigmatic dimension.

Completing the exhibition are two large-format prints (120 × 90 cm) drawn from books recently illustrated by Hubert Le Gall for Éditions Les Belles Lettres: Le Songe de Scipion by Cicero (2023) and Les Derniers Jours de l’humanité by Seneca (2026).

This first monographic exhibition at Cuturi Gallery Paris powerfully affirms the singularity of Hubert Le Gall’s work. Each fully functional piece forms part of a broader narrative and contributes to the creation of a hybrid territory situated between design and sculpture. The artist develops a language in which the object simultaneously manifests itself as form, function, and fiction.

Without ever yielding to a strictly decorative approach, the exhibition highlights the narrative dimension of the work, along with the richness of its artisanal craftsmanship and poetic imagination.

Through this intertwining of stories, forms, and references, the title emerges as a key to interpretation: it no longer refers solely to a human interiority, but suggests an expanded soul shared between humans, animals, and nature.