Krugh
The visual prayer
KRUGH is a French visual artist whose work emerges from an inner journey. In his canvases and installations, raw signs and red words confront chaos and light to evoke a breath of life. Born in 1975, Krugh is rooted in an experience where trial, silence, and inner momentum open painting as a place of truth.
In 2021, a decisive turning point occurs: with his eyes closed, he discovers that his hand draws more accurately than with intention. From this listening, a raw, expressionist language is born, infused with a spiritual dimension. Since then, his work has asserted itself as a quest for embodiment: to express the connection between the visible and the invisible, between fracture and hope.
Observer of the world, of humanity, and of his own path, Krugh scrutinises behaviours and connections, silences, visible and invisible wounds that traverse beings. His gaze, both poetic, spiritual, and open, is above all intuitive, sensitive, contemplative, and analytical, blending depth of thought with inner acuity. He does not limit himself to observing: Krugh lives, most of the time, what he perceives, experiences the dynamics that present themselves, and allows these experiences to nourish his creation, like a ground of germination.
Through this attention, he makes his art a living mirror: a place where the beauty and fragility of the world meet, where his inner journeys become language, and where the material itself bears the traces of these passages.
In 2025, following a series of events experienced as an inner visitation, Krugh writes a narrative entitled The Garden of the Threshold, which he plans to publish in book form when the time is right. This text, written in silence, connects memory, faith, revelation, and creation. It bears witness to an intimate passage through trial — a crossing, a sacred dialogue where art becomes prayer, and where each work reveals itself as a door between the visible and the invisible. This symbolic garden, both a concrete place and an inner space, becomes the foundation for a new stage of his work: that of incarnation.
Totemic figures, signs drawn from his name, fragments of wounded or inverted words... His works evoke forms born from matter and the inner world, opening toward the spiritual with multiple layers of interpretation, sometimes in hidden meaning. Krugh confronts surrender and reflection in a tangible visual language, where matter and breath intertwine. His paintings, objects and installations appear as thresholds: spaces of presence where rupture and light meet.
His recent corpus – gathered around POP CORN AND PRAYERS and his manifesto The Visual Prayer – marks the birth of a fully asserted artistic identity. The artist offers an immersive experience between his embodied art, traversed, and that of a world sometimes lukewarm, anaesthetised by conformity and the empty idolatry of meaning. Each piece stands as a commitment, a vision, an offering — a breach opened to the breath of life.
The artist takes a new turn: he now chooses to whiten in order to transfigure. This gesture, both simple and radical, consists of covering with white objects or places that carry history — sometimes wounded, abandoned, marked. The white does not come to erase, but to silence the old, offering a new space, a threshold. By placing his name or a message in red on it, Krugh inscribes memory in the light.
This work, still in its infancy, is heralded as a rite of passage: to bring the object or place back to life in a new, embodied breath — between a before and an after that is transfigured.