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Evelyne Huet

Born in: 1955


I am a mathematician by training, a discipline that I chose for its infinitely dreamlike dimension and that I taught for years at the university level. Parallely, I attended the famous studio "La Grande Chaumière" in the Montparnasse area in Paris for a number of years. The painter René ARTOZOUL was my teacher there. I also studied anthropology. As far as I can remember, I have always painted humans, often only one at a time and only the face, simplifying their representations to the extreme - in the drawing as well as in the choice and application of the colors - so that one can imagine their current emotion through their expression, whether it be implied or merely suggested. What interests me fundamentally is not to show the context or the environment of this emotion, what created it, or those who witnessed it, but to enter the depths of this emotion and allow one to imagine both its genesis and its evolution, limiting the register of pathos as much as possible. This was true for my paintings on canvas of women and young girls faced with violent situations, and it is also true now for my digital paintings, which I create on an iPad, using my fingertips, without a stylus, and with the technological support of the software SketchBook Pro. In parenthesis, this very tactile technic is very helpful in allowing me to give birth to the emotions that I want to suggest. Not to mention the pleasure of being able to create and "un-create" a piece as it is being born under your fingertips, as you see fit, without ever having to kill the previous version to find the new state of equilibrium of the painting being created - unlike what happens with physical mediums. My themes have changed, now they focus on the fighting and bloodshed that humans perpetrate (women are still present, but so are men, in numbers), their pulsions, the universe of insanity, imprisonment, religions, and in particular the members of the Holy Family, the "of Nazareths", especially Mary and Jesus, during the "terrestrial" part of their existences, which is the only one I am interested in for my paintings. And, here too, I attempt to paint what I imagine their emotions were. There probably is a form of militancy in my paintings, in the sense that oppression by others is often present. In this respect, the French art critic and curator Christian Noorbergen did me the honor of writing that “[My] art is “charged” as a timeless talisman might be." And there is also perhaps a certain touch inherited from arts seen as "primitive". These arts, now called "primary", are for me, magnificent and universal imprints of a form of eternity that deeply moves me. Another aspect of my work, on a more technical note: My digital images are printed on Epson Hahnemuble Photorag 305g paper with a Diasec® Plexi/Plexi 3+3mm finishing that offers a color guarantee of at least 100 years (Museum Quality). They are available to print in various formats, most often homothetic to the A format, which is the one used for most of my images. (Many of my paintings were printed at the A format, i.e. 119x84cm.) The result is an exact copy of my initial creations, both in the colors as well as in the material effects that I introduce. I mention this because the crossing over of my paintings from a digital to a physical state is essential, of course. It took me a longtime to choose my printer, but the one I found (in Brussels) is excellent. My paintings are available in three limited editions (all formats).
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In time for Christmas
Evelyne Huet, Is this Love 2, Print

Evelyne Huet

Is this Love 2, 2015
23.2 x 16.5 inch


In time for Christmas
Evelyne Huet, Is this Love 1, Print

Evelyne Huet

Is this Love 1, 2015
23.2 x 16.5 x 1.6 inch


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