Not only has Hubert been thoroughly documenting his environment and the people with whom he works, now with this recent project, Hubert is doing a round-up of all the elements that helped him create these different stories. These objects were, after all, what elevated the normality of his studio to an art form and emphasized the narrative that was made up on the spot. “When something’s taken out of its original context, it can take a whole other meaning, say a beach ball in a living room. Just because we aren’t used to seeing it in such a place doesn’t mean it doesn’t belong there,” he says. “Without falling into some sort of political creed,” the photographer pursues, “it’s a play on norms and conventions.”
The DIY ethic is a recurrent, if not a constitutional, element throughout the image maker’s work and that’s something that’s been favourably welcomed by the fashion industry. At the Hyères festival last year, Hubert won the American Vintage Fashion Prize after presenting a selection of archive pictures that featured his habitually bold yet homely installations, a title that came with a cash prize of 15,000 euros and a photo project offer commissioned by the brand that would be displayed in one of their boutiques in Paris.