h.u.e’s visual art is rooted in collage. Compositions utilize found objects, loose parts, and natural materials–with declarative newspaper, magazine, and encyclopedia clippings contrasting his reflective, handwritten poetry and lyrics.

Surfaces include dried birch bark, broken acoustic guitars, window panes, vintage luggage, and circuit panels. Loose parts include: raw cotton, tree cookies, and raw sheep wool. Multiple sections are often linked together with thread, wire, and yarn to create a unified composition. Water-based mediums (gouache, tempera), as well as cray-pas, pencils, and oil pastels are favored– both for their blending ability as well as their impermanence.

Selected works include

Pivot (2018)

 

Red Hot Blues (2018)

 

Lucky Nights Are Rare (2018)


A Blue Sheep (2005)

 

 


Feast (2005)

  • discarded banister slat
  • wood panel
  • acrylic paint
  • tri-color corn
  • hot glue
  • India ink

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The Bird / A Map (2004)

  • cold-press paper
  • needle/thread
  • typewriter
  • ink brush

 

 


II Stars (2004)

  • birch bark
  • acrylic paint
  • India ink
  • ceramic glaze, coffee grounds
  • Masonite board + clothespins

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Good Design (2003)

  • discarded automobile AM/FM stereo 
  • Masonite board
  • acrylic paint
  • chalk,
  • art encyclopedia
  • newspaper clippings

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h.u.e collaborated with Indiana-based media artist JM Otis for a series of 35mm staged photos titled The ‘Candles Session’ (2005) and a medium-format Holga series shot in rural Polk County, NC, titled ‘The ‘Floating on Farm’ series (2004).

The ‘Candles Session’ (2005)

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The ‘Floating on Farm’ series (2004).

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From 2003 – 2005 h.u.e also created several collaborative pieces with book, paper, and letterpress artist Jennifer Brook (Brooklyn, NY) including this clay-fired journal:

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