"Alexandra Huber's oeuvre is characterized by an apparent Esperanto of signs. It is not an art of the unconscious.
The human being and the often puzzling order of things are her major theme. The figures in her art are interpreted by
the objects around them as aggressive, painful, threatened or else whimsical, witty, clownish. She symbolically loads
them up and unloads them sentimentally, organically, historically. She fills tem up and empties them out with allusions,
gestures, thoughts, speculations, wishes, fears, anger and pain but also with wit and irony. The feelings are always in
between states, never fixed, never categorical. These spiritual feelings, usually decisions between pro and con, or
else 'indifferent', are the actual subject matter.
Her ominous painted figure, perhaps an 'alter ego,' of 'Hercules at the crossroads,' can best be explained
as 'nobody.' Intangible, because incorporeal, he is the ideal protagonist for all human lamenting, suffering,
hoping and thinking. What nobody will admit to, 'nobody' has done. What everyone wishes, 'nobody' expresses.
Her works or art revolve around the meaning, humor and tragedy of human existence. It is an existence that even
the pages of a sketchbook cannot reduce in grandeur. It is always conceived monumentally. Her paintings are
intended on the one hand to be shocking and provocative, and on the other to be read and empathized with. They
deliberately negate the slightest suggestion of solidity and smoothness. The hard, scruffy, infantile brushstroke
reflects and awareness of life that ignores social taboos, approaches problems with an exploring touch and exposes
deplorable states of affairs, no matter how small or how big."
Johannes van Megen (art critic)