galerie bruno massa

What Evelyne Huet paints

A mathematician by training, a discipline that she chose for its infinitely dreamlike dimension and that she taught for years at the university level, she attended the famous studio “La Grande Chaumière” in the Montparnasse area in Paris for a number of years. The painter René ARTOZOUL was her teacher there. She also studied anthropology.

As far as she can remember, she has 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 emotions through their expression, whether it be implied or merely suggested.

What interests her fundamentally is not to show the context or the environment of these emotions, what created them, or those who witnessed them, but to enter their depths and allow one to imagine both their genesis and their evolution, limiting the register of pathos as much as possible.

This was true for her paintings on canvas, and it is also true for her digital paintings, which she creates using her fingertips, without a stylus. This very tactile technic is very helpful in allowing her to give birth to the emotions that she wants 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.

Her themes cover the spectrum of humans pulsions, with their joys, their physical and psychic torments, their calls to myths and religions, their fights, their carnages. She also pays homage to many “figures”, contemporary or not, public or private, real or imaginary, all of whom are important in her eyes for what they tell about our collective history or about her own history. In particular, the members of the Holy Family come to mind, the “of Nazareths”, especially Mary and Jesus, during the “terrestrial” part of their existences, which is the only part she is interested in for her paintings. And, here too, she attempts to get the viewer to imagine.

There probably is a form of militancy in her paintings, in the sense that oppression by others is often present. In this respect, the French art critic and curator Christian NOORBERGEN did her the honor of writing that “[Her] 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 magnificent and universal imprints of a form of eternity that deeply moves her.

Her digital images are printed with a Diasec® 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 her images. The result is an exact copy of her initial creations, both in the colors as well as in the material effects that she introduces. Her paintings are available in three limited editions (all formats).