"Fünf Weiher 2"

pigment-based inkjet print

signed, dated and titled on verso

Deep in the forest lie the quiet ponds; stagnant, dark waters, shaded by surrounding trees. Only gently is the surface allowed to ripple so that the reflections stand out well. The colours blur on the landscapes, which are turned 180 degrees in the lab - and therefore no longer upside down. Streaks and spots run across the pictures, sometimes even seeming to be dabbed on with a brush. In detail, they are almost abstract sections that only add up together to form a landscape.
(Anne Katrin Feßler, der Standard,  6.5.2018)

Since the mid-1990s, Hütte has traveled the world, primarily photographing landscapes and architecture. His works exhibit less of an interest in the exact representation of reality, but seek to compress the appearence thereof into something that can be read as almost painterly. Moving beyond the documentary and narrative, Hütte attempts to capture his own subjective impressions of natural spaces and cityscapes, irritating the viewers‘ gaze and denying a clear legibility of pictorial space. With plate camera in hand, Hütte has, over the past 30 years, created photographic representations of landscapes on every continent. In this sense, Hütte’s view of the world seems kindred to that of Alexander von Humboldt. It is the sober, curious, and repeatedly astonished gaze of a friend whose observations take the tiniest details into consideration without ever losing sight of the larger structure within which they are found. Only this type of gaze can envision the world as an appearance that creates reality while at the same time existing as a projection of our own imagination.
(Daniel Marzona Galerie, Berlin)