NANCY HUNTER

www.nancyhunterart.com

My paintings begin with the collection of objects that are either constructed by me, disassembled from other things, or are discarded by other people. I know that I have an underlying attachment to these objects, but in this acquisition stage, I am not usually able to articulate it. I make lists and diagrams to help me compose the structure of the painting. I think about how this set of objects will interplay with other sets of objects aesthetically, and symbolically. Setting up the still life is a time intensive process that involves a lot of trial and error, and many of the set ups never see canvas. Although my paintings are executed in the manner of classical realism, my compositions are influenced by geometric abstraction. Painters such as Al Held, Roberto Matta, Paul Klee, Wassily Kandinsky, Piet Mondrian, and Stuart Davis are usually not grouped together in the same school or period. Yet, they share some commonalities that appeal to me. The lack of a central point of interest, the shallow depth of field, and the repetition of elements are compositional conventions not usually associated with realism. I try to set up a dynamic rhythm that is a balance between intentional and random placement. I look for textures and shapes that work together, but at the same time I want them to be somewhat unpredictable and mysterious. When I am finished I am usually surprised that the objects portrayed in the painting bring to the forefront conflicts that were stirring in my subconscious. The genre of Still Life has remained a constant source of expression because, in the portrayal of the everyday, the object becomes a symbol that can connect us to a shared experience.

Source: Nancy Hunter

Paintings
Painters
Galleries