Cover The Paris Olympics and Paralympics poster by Ugo Gattoni (Image: courtesy of the artist)
The Paris Olympics and Paralympics poster by Ugo Gattoni (Image: courtesy of the artist)
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Ugo Gattoni takes us through his elaborately designed poster for the 2024 Paris Olympics and Paralympics in his home city this month
It was an immediate “yes” when French-born artist Ugo Gattoni received an Instagram message from the organising committee for the 2024 Olympics and Paralympics, inviting him to design the poster for the games.
“It’s [been] a dream to draw these legendary posters,” he says. The artist, whose surreal style intricately interweaves depictions of cityscapes and people, has attracted an array of commissions from and collaboration with brands including Hermès, Rolex and Pierre Frey.
Ahead of the Olympics, he tells Tatler what it was like to create for a different “arena” and how the city inspired his design.
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Above Ugo Gattoni (Photo: courtesy of the artist)
Ugo Gattoni (Photo: courtesy of the artist)
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The Olympic and Paralympic Games are multifaceted; Paris is a vast, historic city. How did you decide what details to include in the poster?
In the [early] discussions, we [decided] we were going for a level of detail that would allow all the sports to be included in the painting. I first created the Olympic and Paralympic arena with all the sports, then the monuments of Paris and little things from my [imaginary] universe. It’s a big mix of everything.
What elements of Paris did you most enjoy depicting?
What I liked the most are the little corners of the daily lives of workers along the river or people chilling and eating. I drew a couple chilling under weeping willow trees, which is a typical tree in Paris. These micro, hidden details bring the drawings to life.
I also [concentrated on] the details of the city’s architecture. I added the Olympics logo to the balcony on the left of the drawing. [Next to] the balcony, there is a [building] in the Haussmanian architectural style. I really enjoyed drawing these kinds of little things, where I transformed the classic architecture with little symbols.
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Above Ugo Gattoni sketching the Olympics flag (Photo: courtesy of the artist)
Ugo Gattoni sketching the Olympics flag (Photo: courtesy of the artist)
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How should viewers navigate the poster?
There are several levels of viewing it. First, you see it from afar to get the general mood. Then you can get closer and forget the frame. You may first see the monuments in the Parisian area, which may bring your attention to the little guy who is about to dive into the river. Then you can move on to different parts to look at different things. There’s no definite way to discover the little details. When you see the drawing the next time, it [will still] be full of surprises.
How do you personally relate to the events?
I was doing quite a lot of sports when I was young—I was a swimmer. I’ve watched the Games before, for sure. I’m not a crazy fan of it, but it’s part of everyone’s lives.
How do you feel about Paris being chosen for the Olympics and Paralympics?
I can’t wait for the Games to happen. I’m from Paris: I’m proud that people from around the world come to this beautiful city. Whenever I work overseas and come home to Paris, I take pictures as if I was a tourist. I’m always inspired by this city and its monuments.
Above Ugo Gattoni at work in his studio in Paris (Photo: courtesy of the artist)
Ugo Gattoni at work in his studio in Paris (Photo: courtesy of the artist)
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Which artists do you look to for inspiration?
I don’t usually reference other artists—I go straight to my subjects. For this poster, I was inspired by Paris itself. People were comparing my design to [Dutch Renaissance painters] Jérôme [Hieronymus] Bosch and Pieter Brueghel l’Ancien [the Elder], whom I didn’t reference. But it wouldn’t be wrong to say that I was inspired by [French artist and cartoonist Jean Giraud who goes by the pseudonym] Mœbius.
What inspired you to be an artist?
I studied graphic design at a tiny art school in Paris called EPSAA [Ecole Professionnelle Supérieure d’Arts Graphiques et d’Architecture]. When I graduated 11 years ago, I didn’t know what I wanted to do. One day, I just bought a big, ten-metre-long roll of paper and filled it with illustrations of tiny stories of my daily life and scenes of my friends. That’s how I started just telling stories. Now, [I consider myself] more than an artist; I’m also a storyteller.
When working with commercial brands, how do you take a balance between your personal style and their demands?
The [art and design] industry today is constantly going after [efficient production]. My art is done by hand [with a digital pen], which takes time. It’s complicated to do a beautiful hand-drawn piece. So I accept collaborations from brands that allow me to take the time in my art and respect my craft. And I don’t hold back in applying my personal style to brand collaborations. I’m quite lucky to be able to draw as I want.
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Zabrina is the Senior Editor, Arts and Culture of Tatler Hong Kong. She specialises in performing arts, visual art and film. Her wanderlust was first fuelled by the Mighty Rovers Antarctica Expedition 2010. Over the years, she has interviewed A-list artists and filmmakers, including Oscar winners Chlóe Zhao and Tim Yip, Golden Horse winner Sylvia Chang, In the Mood for Love cinematographer Christopher Doyle, Pachinko author Min Jin Lee, and Coachella’s first Chinese solo singer Jackson Wang. She won gold at the WAN-IFRA Asian Media Awards for her 2021 feature on the waves of hate crimes targeting Asian Americans.
