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 Patrick Huse  (1948 - )

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Lived/Active: Norway      Known for: non objective painting, multi media conceptual art

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This biography from the Archives of AskART:
Please note: Artists not classified as American in our database may have limited biographical data compared to the extensive information about American artists.

The following is submitted by the artist.

Patrick Huse (born April 1, 1948) is a Norwegian painter and multi-media artist. After his debut at the National Art Exhibition in 1970 Patrick Huse studied landscape art and Conceptualism during the late 1970s and early 1980s. His works incorporate techniques such as painting, drawing, photograph, video, wall based text material and objects.

Seattle Times critic Matthew Kangas wrote in a review of Huse's 2000 exhibition,“Rift”, at the Frye Art Museum: “Dark, cloudy and moody, Huse’s pictures are part of a long, gloomy tradition of northern European landscape tradition. In the early 1990s he started a project titled Rethinking Landscape, a trilogy consisting of the three parts: 1 Nordic Landscape 2 RIFT and 3 Penetration. The traditional landscape art still plays a role as an artistic reference, but through a series of exhibitions from the mid 1990s and later, he has challenged landscape art in a way which makes his project unique. For many years through his interest for indigenous people and tradition in the Arctic Patrick Huse extensively travelled the north and his work in a period of twelve years resulted in an approach to art through a crossover between art and anthropology. This was concluded in a trilogy called Northern Imaginary which was under production for nine years."

Patrick Huse has worked extensively with larger pedagogical museum art projects connected to Northern issues for many years. He has produced books connected to the different projects including social research in Arctic Canada, Greenland, Iceland and the Nordic countries and cooperation with a large number of academics from several universities. The books are used as text books in academic courses in universities and university colleges. In his entire body of work, Patrick Huse argues the use of elements taken from nature, structures in nature and culture becomes an invitation to associate with working on the relationship – center and periphery, one of the most repeated topics for structuring the geographical relationship."
Artist Statement:
On Painting
Humans have always tried to expand their territories, to break their traditional and territorial boundaries yearning for larger movements, more freedom, flying higher, mere attention, just to discover that each and every one of us is trapped within our own skin or body. Metaphorically our skin is a framework and any framework will represent a part or a fragment of reality. Like a painting of a landscape, interior or the human body; we can only describe what is communicated within the framework almost like a reflection of human capacity because we are not capable to see or to communicate reality as a whole. In this way of thinking the importance of what is inside the framework increases because that’s our reality which necessary have to be recognized. To recognize this framework in spite of political, social and financial contradictions I would like to see painting. The measurement of the painting or the framework is a term or standard limited and can again easily be seen metaphorically in connection to the limitations of the earlier mentioned human body.

Painting is one of the oldest artistic media. In the toolbox of artistic media, painting as a language for communication has survived through the history of art with all its social contradictions and dialectical changes.

Åsmund Thorkildsen is discussing relationships between different directions or expressions in art and how contradiction for political and financial reasons where established, where some direction necessarily had to be in a contradiction to painting or to certain movements in painting. The assignment of the Avant-garde was to resist traditional boundary, cultural industry and mass culture in order not only to challenge the development in art but also to challenge society.

So the painting is not only a painting. It’s filled with its own history together with the reflections of the contemporary painter/artist. Even the contradictions toward painting needed painting in order to resist painting. Today with all its possibilities for communication painting exist in the history of a large number of different artistic languages. As any other language painting is threatened by mass culture, by speed and particularly by the Western cultures need for market strongholds and political similarity. As we know Modernism utilized art to create attention towards art. What we seem to forget today or simply do not recognize is the loss of dialects and dialectical thinking. Painting is one language with many dialects within the art world. Its specifications are similar to any other art media. It has its own qualities. It represents a specific language and it can only have a value by showing that the experience produced cannot be achieved any other place and that the competence area of each media is within the nature of the media itself.

In order to fulfill the idea of painting and protect the framework and dialectics the only radical thing is to look back not to copy but to maintain the nature of the media itself.

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