Catrin Huber’s idiosyncratic work explores abstraction and representations of architectural space.
Her wall paintings and installations transform distinctive sites: a polygonal, glass-walled kiosk in Herford, Germany; a drawing room at Sir John Soane’s former country residence, Pitzhanger Manor; the room at the Hatton Gallery, Newcastle that in 1966 became the new home for Kurt Schwitters’ displaced Merzbarn wall.
This catalogue also highlights two of Huber’s most resonant collage series: Syntax of Clouds and As Above So Below.
Essayists exploring Huber’s work include writer and critic Sean Ashton, who examines collage in relation to Schwitters’ Merzbarn and Huber’s As Above So Below.
Elsewhere, curator and critic Sacha Craddock writes about Huber’s site-specific practice, while Shelley Hales, a lecturer in Visual Arts, investigates the dialogue between Huber’s work and Roman wall painting.