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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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Evelyne Huet, Is this Love 1, Print

Evelyne Huet

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


Evelyne Huet, Is this Love 2, Print

Evelyne Huet

Is this Love 2, 2015
23.2 x 16.5 inch


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