I aim to create carpets of abstract harmony in color and space.
My carpets are made intuitively with a feeling for irregularity.

Pursuing a notion on the road to closure, I work into uncertainty
by following the example of nature while searching to recognize
stereotypes in order to break them.

Woven sketches with materials 'from everywhere' are lived sketches.
work memo, H. H., 1994

1949		born in Zwickau / Saxony / GDR
1952		move to Grossenhain / Saxony
1966 - 69		Machinist / engine fitter / turret lathe-operator 'A levels'
1969		move to (East-) Berlin, GDR
1969 - 72		Film and Camera assistant at former GDR television
1976		Birth of the son Julius
1972 - 78		Director of four movie theatres
1972 - 78		College correspondence degree course to become head of operations for film "M. A. Nexö", Meißen
1983 - 90		Gallery owner at Gallery Mitte, Berlin, Reinhardtstrasse
1991 - 92		Studies: Cultural Management at the Kulturakadamie Berlin, admission to Association of Fine Arts GDR
since 1992		different occupations
since 1984		'Bildteppiche' autodidactic work in carpets cloth weaving
since 1993		Member of the artists association BBK as textiles artist
since 2003		Member of the artists association GEDOK Brandenburg
since 2003		Textile objects, photography, relief print, dry point lives and works in Berlin

Here we meet surfaces, dominated by regularity and on closer examination they turn out to be eventful unconventional patterns. The stability of the underlying rhythm, experienced during the loose development of the form phase transforms into a landscape, or an imaginary sphere.
Fritz Jacobi, 1993

Helga Höhne's old passion of allowing nature to guide the course of her weaving, to trust in spontaneous developments, the force of chance, and simply to follow the spark of an idea, has driven her to create a picturesque form far removed from the realm of mere "textiles".

For her the rectangular format seems to have exhausted itself as too traditional. The new carpets glean their contours from the "happy surprise" realized through the perfectly suited aura of the discarded, the left over - the run down stage props from some sort of everyday theater. They are objects in which the rust, the tears, and the wear have all been gloriously and unpretentiously weaved in. Fleeting forms, narrow vertically broadening - traffic lights, red devils or forks posess a dimension in which one can feel the grace of a strange creature-like dignity resting directly on our soul.
Petra Hornung, 2006