Self-taught sculptor Jacques Huet worked in a range of mediums such as wood, aluminum, bronze and Plexiglas. A contemporary of Roussil, Daudelin and Vaillancourt, he led a career spanning several decades as reflected in his collection of awards: first place at the 4th Salon du printemps in Ville Saint-Laurent (1963); the Prix au Concours artistique de la province de Québec (1970); the Premier grand prix in sculpture at the Gala international des arts visuels of the Cercle des Artistes Peintres et Sculpteurs du Québec (1997); and the Premier grand prix in sculpture at the Cercle du Pluralisme in Laval (1998 and 1999). Huet was also featured in several films, including a documentary on Quebec sculpture produced for the Ministère de l’Éducation (Radio-Québec); Une forêt de symboles, a 1973 film by Paul Vézina on the 1966 Symposium de Québec (ONF); a 1975 film about the Symposium de Matane; and a 1979 production on the Symposium de Terrebonne. In addition to holding solo exhibitions, he created several works for the integration of art into architecture, such as Les grandes mains at the Orford Arts Centre (1969); mural sculptures for both the administrative building of the Ministère des Travaux Publics du Québec and the Henri-Bourassa subway station in Montreal (1981); a sculpture screen and aluminum mural for the Centre hospitalier Côte-des-Neiges (Montreal, 1984); and a granite sculpture entitled Lieu d’une culture for the Maison des Arts de Laval (1987).
SEE:
« Incontournable : La sculpture » by Serge Fisette, ESPACE, vol 5 #2, p.5-8.
« L’incessante quête de liberté de Jacques Huet » by Clément Fontaine, ESPACE #19, p. 53.
« Jacques Huet : Les profondeurs du bois » by François Tétreau, ESPACE #38, p. 35.
« Sculpture en direct », ESPACE #58, p. 51.
« L’oeuvre, la mise en oeuvre…» by Serge Fisette, ESPACE #88, p. 5.
