Artist Statement - July 2016

Strictly speaking, I’m neither a figurative nor an abstract painter, I take the colours and shapes of the natural world and push them through a blender of imagination and memory.

These recent works are the result of working and living in the bush in Northern NSW, recently. Observing and experiencing the landscape on a daily basis, these works are my interpretation of that sensation. The absence of colour in many of these works, helped me to focus on the forms and dynamics of the land, this became my primary interest. Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.

Like music (a major influence and where these titles are derived from) the paintings evolve from the successful pulling together of disparate elements – speed, chance, memory and sensibility – that need to be harnessed to create a cohesive whole.

In that sense, a successful painting, in my opinion, should be totemic. Once created, it relies on the viewer’s personal cognition and memory to evoke a response. It becomes entirely dependent on a shared subconscious recognition that goes beyond mere representation.

Artist Statement - July 2016

Strictly speaking, I’m neither a figurative nor an abstract painter, I take the colours and shapes of the natural world and push them through a blender of imagination and memory.

These recent works are the result of working and living in the bush in Northern NSW, recently. Observing and experiencing the landscape on a daily basis, these works are my interpretation of that sensation. The absence of colour in many of these works, helped me to focus on the forms and dynamics of the land, this became my primary interest. Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.

Like music (a major influence and where these titles are derived from) the paintings evolve from the successful pulling together of disparate elements – speed, chance, memory and sensibility – that need to be harnessed to create a cohesive whole.

In that sense, a successful painting, in my opinion, should be totemic. Once created, it relies on the viewer’s personal cognition and memory to evoke a response. It becomes entirely dependent on a shared subconscious recognition that goes beyond mere representation.

Artist Statement - July 2016

Strictly speaking, I’m neither a figurative nor an abstract painter, I take the colours and shapes of the natural world and push them through a blender of imagination and memory.

These recent works are the result of working and living in the bush in Northern NSW, recently. Observing and experiencing the landscape on a daily basis, these works are my interpretation of that sensation. The absence of colour in many of these works, helped me to focus on the forms and dynamics of the land, this became my primary interest. Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.

Like music (a major influence and where these titles are derived from) the paintings evolve from the successful pulling together of disparate elements – speed, chance, memory and sensibility – that need to be harnessed to create a cohesive whole.

In that sense, a successful painting, in my opinion, should be totemic. Once created, it relies on the viewer’s personal cognition and memory to evoke a response. It becomes entirely dependent on a shared subconscious recognition that goes beyond mere representation.

Artist Statement - July 2016

Strictly speaking, I’m neither a figurative nor an abstract painter, I take the colours and shapes of the natural world and push them through a blender of imagination and memory.

These recent works are the result of working and living in the bush in Northern NSW, recently. Observing and experiencing the landscape on a daily basis, these works are my interpretation of that sensation. The absence of colour in many of these works, helped me to focus on the forms and dynamics of the land, this became my primary interest. Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.

Like music (a major influence and where these titles are derived from) the paintings evolve from the successful pulling together of disparate elements – speed, chance, memory and sensibility – that need to be harnessed to create a cohesive whole.

In that sense, a successful painting, in my opinion, should be totemic. Once created, it relies on the viewer’s personal cognition and memory to evoke a response. It becomes entirely dependent on a shared subconscious recognition that goes beyond mere representation.

Artist Statement - July 2016

Strictly speaking, I’m neither a figurative nor an abstract painter, I take the colours and shapes of the natural world and push them through a blender of imagination and memory.

These recent works are the result of working and living in the bush in Northern NSW, recently. Observing and experiencing the landscape on a daily basis, these works are my interpretation of that sensation. The absence of colour in many of these works, helped me to focus on the forms and dynamics of the land, this became my primary interest. Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.

Like music (a major influence and where these titles are derived from) the paintings evolve from the successful pulling together of disparate elements – speed, chance, memory and sensibility – that need to be harnessed to create a cohesive whole.

In that sense, a successful painting, in my opinion, should be totemic. Once created, it relies on the viewer’s personal cognition and memory to evoke a response. It becomes entirely dependent on a shared subconscious recognition that goes beyond mere representation.

Artist Statement - July 2016

Strictly speaking, I’m neither a figurative nor an abstract painter, I take the colours and shapes of the natural world and push them through a blender of imagination and memory.

These recent works are the result of working and living in the bush in Northern NSW, recently. Observing and experiencing the landscape on a daily basis, these works are my interpretation of that sensation. The absence of colour in many of these works, helped me to focus on the forms and dynamics of the land, this became my primary interest. Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.

Like music (a major influence and where these titles are derived from) the paintings evolve from the successful pulling together of disparate elements – speed, chance, memory and sensibility – that need to be harnessed to create a cohesive whole.

In that sense, a successful painting, in my opinion, should be totemic. Once created, it relies on the viewer’s personal cognition and memory to evoke a response. It becomes entirely dependent on a shared subconscious recognition that goes beyond mere representation.

Artist Statement - July 2016

Strictly speaking, I’m neither a figurative nor an abstract painter, I take the colours and shapes of the natural world and push them through a blender of imagination and memory.

These recent works are the result of working and living in the bush in Northern NSW, recently. Observing and experiencing the landscape on a daily basis, these works are my interpretation of that sensation. The absence of colour in many of these works, helped me to focus on the forms and dynamics of the land, this became my primary interest. Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.

Like music (a major influence and where these titles are derived from) the paintings evolve from the successful pulling together of disparate elements – speed, chance, memory and sensibility – that need to be harnessed to create a cohesive whole.

In that sense, a successful painting, in my opinion, should be totemic. Once created, it relies on the viewer’s personal cognition and memory to evoke a response. It becomes entirely dependent on a shared subconscious recognition that goes beyond mere representation.

Artist Statement - July 2016

Studies for Talking to a Stranger - Todd Hunter Solo

Strictly speaking, I’m neither a figurative nor an abstract painter, I take the colours and shapes of the natural world and push them through a blender of imagination and memory. 

These recent works are the result of working and living in the bush in Northern NSW, recently. Observing and experiencing the landscape on a daily basis, these works are my interpretation of that sensation. The absence of colour in many of these works, helped me to focus on the forms and dynamics of the land, this became my primary interest. Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.

Like music (a major influence and where these titles are derived from) the paintings evolve from the successful pulling together of disparate elements – speed, chance, memory and sensibility – that need to be harnessed to create a cohesive whole. 

In that sense, a successful painting, in my opinion, should be totemic. Once created, it relies on the viewer’s personal cognition and memory to evoke a response. It becomes entirely dependent on a shared subconscious recognition that goes beyond mere representation.

Artist Statement - July 2016

Studies for Talking to a Stranger - Todd Hunter Solo

Strictly speaking, I’m neither a figurative nor an abstract painter, I take the colours and shapes of the natural world and push them through a blender of imagination and memory. 

These recent works are the result of working and living in the bush in Northern NSW, recently. Observing and experiencing the landscape on a daily basis, these works are my interpretation of that sensation. The absence of colour in many of these works, helped me to focus on the forms and dynamics of the land, this became my primary interest. Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.

Like music (a major influence and where these titles are derived from) the paintings evolve from the successful pulling together of disparate elements – speed, chance, memory and sensibility – that need to be harnessed to create a cohesive whole. 

In that sense, a successful painting, in my opinion, should be totemic. Once created, it relies on the viewer’s personal cognition and memory to evoke a response. It becomes entirely dependent on a shared subconscious recognition that goes beyond mere representation.

Artist Statement - July 2016

Studies for Talking to a Stranger - Todd Hunter Solo

Strictly speaking, I’m neither a figurative nor an abstract painter, I take the colours and shapes of the natural world and push them through a blender of imagination and memory. 

These recent works are the result of working and living in the bush in Northern NSW, recently. Observing and experiencing the landscape on a daily basis, these works are my interpretation of that sensation. The absence of colour in many of these works, helped me to focus on the forms and dynamics of the land, this became my primary interest. Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.

Like music (a major influence and where these titles are derived from) the paintings evolve from the successful pulling together of disparate elements – speed, chance, memory and sensibility – that need to be harnessed to create a cohesive whole. 

In that sense, a successful painting, in my opinion, should be totemic. Once created, it relies on the viewer’s personal cognition and memory to evoke a response. It becomes entirely dependent on a shared subconscious recognition that goes beyond mere representation.

Artist Statement - July 2016

Studies for Talking to a Stranger - Todd Hunter Solo

Strictly speaking, I’m neither a figurative nor an abstract painter, I take the colours and shapes of the natural world and push them through a blender of imagination and memory. 

These recent works are the result of working and living in the bush in Northern NSW, recently. Observing and experiencing the landscape on a daily basis, these works are my interpretation of that sensation. The absence of colour in many of these works, helped me to focus on the forms and dynamics of the land, this became my primary interest. Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.

Like music (a major influence and where these titles are derived from) the paintings evolve from the successful pulling together of disparate elements – speed, chance, memory and sensibility – that need to be harnessed to create a cohesive whole. 

In that sense, a successful painting, in my opinion, should be totemic. Once created, it relies on the viewer’s personal cognition and memory to evoke a response. It becomes entirely dependent on a shared subconscious recognition that goes beyond mere representation.

Artist Statement - July 2016

Studies for Talking to a Stranger - Todd Hunter Solo

Strictly speaking, I’m neither a figurative nor an abstract painter, I take the colours and shapes of the natural world and push them through a blender of imagination and memory. 

These recent works are the result of working and living in the bush in Northern NSW, recently. Observing and experiencing the landscape on a daily basis, these works are my interpretation of that sensation. The absence of colour in many of these works, helped me to focus on the forms and dynamics of the land, this became my primary interest. Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.

Like music (a major influence and where these titles are derived from) the paintings evolve from the successful pulling together of disparate elements – speed, chance, memory and sensibility – that need to be harnessed to create a cohesive whole. 

In that sense, a successful painting, in my opinion, should be totemic. Once created, it relies on the viewer’s personal cognition and memory to evoke a response. It becomes entirely dependent on a shared subconscious recognition that goes beyond mere representation.

Artist Statement - July 2016

Studies for Talking to a Stranger - Todd Hunter Solo

Strictly speaking, I’m neither a figurative nor an abstract painter, I take the colours and shapes of the natural world and push them through a blender of imagination and memory. 

These recent works are the result of working and living in the bush in Northern NSW, recently. Observing and experiencing the landscape on a daily basis, these works are my interpretation of that sensation. The absence of colour in many of these works, helped me to focus on the forms and dynamics of the land, this became my primary interest. Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.

Like music (a major influence and where these titles are derived from) the paintings evolve from the successful pulling together of disparate elements – speed, chance, memory and sensibility – that need to be harnessed to create a cohesive whole. 

In that sense, a successful painting, in my opinion, should be totemic. Once created, it relies on the viewer’s personal cognition and memory to evoke a response. It becomes entirely dependent on a shared subconscious recognition that goes beyond mere representation.

Artist Statement - July 2016

Studies for Talking to a Stranger - Todd Hunter Solo

Strictly speaking, I’m neither a figurative nor an abstract painter, I take the colours and shapes of the natural world and push them through a blender of imagination and memory. 

These recent works are the result of working and living in the bush in Northern NSW, recently. Observing and experiencing the landscape on a daily basis, these works are my interpretation of that sensation. The absence of colour in many of these works, helped me to focus on the forms and dynamics of the land, this became my primary interest. Glimpses of landscape also mix with those of the human form, a constant in my work, these influences also informed by memories of personal interactions, both physical and emotional, coalesce in the hope of creating evocative and intimate works.

Like music (a major influence and where these titles are derived from) the paintings evolve from the successful pulling together of disparate elements – speed, chance, memory and sensibility – that need to be harnessed to create a cohesive whole. 

In that sense, a successful painting, in my opinion, should be totemic. Once created, it relies on the viewer’s personal cognition and memory to evoke a response. It becomes entirely dependent on a shared subconscious recognition that goes beyond mere representation.