Noor Huige (1980) is a visual artist based in Amsterdam. Her work consists of paintings and drawings, characterized by a bold, colourful, and layered style.

Huige began taking painting lessons at the age of ten in the studio of a professional artist. After graduating from the Art Academie in Amsterdam (1998–2002), she continued her development under the guidance of Amsterdam-based COBRA group painter Anton Martineau (1926–2017). Over the past decade, she has developed a distinctive artistic signature, with mixed media techniques playing a central role in her portraits and flowerpaintings.

Her paintings are composed of layers of paper, textiles, and prints collected from around the world. She works in a range of sizes, always seeking balance between material, colour, and form. In addition to painting, Huige creates artworks on paper, designed specifically for antique frames sourced from markets in Amsterdam and Brussels. Her work is predominantly figurative.

Noor Huige’s artworks are part of corporate and private collections. Her work has been represented by galleries and art dealers, exhibited at various (international) art fairs and sold at auction.

Since childhood, I’ve been fascinated by flowers, always picking them from our garden and arranging little bouquets to give to neighbours. From a very young age I wanted to become a florist, but eventually studied at the art academy and became a painter.

Years later, a visit to the Rijksmuseum changed everything. Seeing the 17th century still life flower paintings by Rachel Ruysch and Judith Leyster deeply inspired me. Until then, my focus had been on portraiture, but their stories, women artists navigating a male-dominated world centuries ago, moved me profoundly. Their perseverance and talent gave me permission, as a contemporary female artist, to explore new themes with confidence.

I had always worked with collage techniques, using collected papers and fabrics from around the world. Gathering ephemera like old travel journals, embroidered handkerchiefs, cigar bands, and fabric scraps has long been a part of my process—items once treasured by others, now finding new life in my work. These fragments, found in flea markets and antique shops, hold emotional or nostalgic value, even if society no longer deems them "worth" anything. I became fascinated by questions of value, memory, and transience. What matters after we’re gone? And why?

This reflection led me to a new way of working: building floral compositions out of these collected materials. From a distance, the viewer sees a bouquet; up close, each element reveals its own story. The collages evoke beauty, decay, and transformation, echoing Vanitas themes while honouring the aesthetics of forgotten times.

I apply this collage technique to my portrait work as well, often framing pieces in antique frames to emphasise the theme of revaluation and reuse. In a time where so much is thrown away, I aim to give forgotten materials a new meaning, inviting viewers to pause, reflect, and reconnect.