David Huet

David Huet was born in Le Havre, in 1968. After a BTS in industrial aesthetics (design) obtained at the Olivier de Serre school (Paris) and ten years of experience as a designer, in Paris and Lyon. He decided to move towards painting, as a professional in 2003, in order to live his first passion.

He received teaching from teachers such as Jean Michel Alberola, a well-known painter from the Free Figuration movement, and Patrice Blanchard, a professor of fine arts and art history authoritative for his exemplary teaching.

His beginnings are marked by a figurative style in which two main themes related to Africa and the jazzman John Coltrane are approached.

These paintings show the representation of semantic puzzles or allegorical visions. They are, for the majority, carriers of more or less decipherable messages. The public is therefore confronted with an unknown meaning, which gives the paintings a mysterious meaning.

At the Priory Museum of Harfleur in 2006, in his exhibition entitled “everyday space”, David Huet broaches new subjects such as television, gambling, consumption, in canvases which for some tend towards an abstract symbolism.

A new style then appears.

"In everything I produce, the style of the painting is at the service of the final idea which dictates its law" according to David Huet.

For the most part, the works show the artist's interest in skilful compositions, organized by a network of construction lines, as well as by a play on color applied in flat areas or brushed in a controlled gesture.

We are in the presence of pictorial buildings governed by a desire to associate form, drawing and color to constitute an "architectural" painting dictated by the painter's intuition and personal symbolism.

The multiple signs (pictograms, numbers, letters, crosses) that punctuate the work do not only have a plastic value. They are considered by the author as so many tracks that lead to the deciphering of the meaning of the painting which contains messages and enigmas borrowed from an often corrosive humor.

The reading of the tables is therefore similar to that of the geographical maps strewn with acronyms and legends. Except that the territories described have nothing real. They are the personal visions produced by an artist who considers painting as a research laboratory.