In the form of architectural models, films or sound installations, Hugues Decointet’s work has been defined by himself as “suites”, in other words extensions of pre-existing works, which are mainly literary, theatrical or cinematographic. It could also be defined as a series of fugues, in the musical sense of the term, or variations on a pre-established motif, in which graphic form and language are intermingled.

Decointet works between description and impression, between the precision of a reconstitution (the mock-up of a stage set, as a “model” or “schema”) and interpretation, which broadens a pre-existing work into being “off-camera”, across the periphery of an image.
For example, he has worked on imagining what might have been the film Snow White by the Portuguese director João Cesar Monteiro, inspired from a play by Robert Walser, if the filmmaker had not decided, on the moment of shooting it, to cover the camera lens with his coat. In the extension of this film, made with some of the original cast, Hugues Decointet set off into an adaptation of A Few Chinese Women, an unfinished scenario by Monteiro, also inspired by one of Walser’s texts.