matthew hunt

the armature

18 may - 27 june 2012

The Witness, Missing time and Noises in the Night

In Steven Spielbergís seminal 1977 motion picture Close Encounters of the Third Kind, the character Roy Neary (played by Richard Dreyfuss) is overtaken by an uncontrollable urge to construct an imaginary landscape in his lounge room after witnessing flying objects late at night. He embarks on what appears to be an unreasonable adventure in order to seek out the origin of this landscape where believes he will meet the UFOís again and associated aliens. This act of creative madness that consumes him also destroys his relationship with his wife and children. This overwhelming compulsion and focus to make art is familiar to many artists and the movie resonates in its portrayal of a kind of creative genius walking the thin line between truth and insanity. It can only be concluded that the drive to uncover something that has subjective, critical and cultural value is fraught with risk.

Matthew Huntís latest exhibition The Armature continues his research into the dynamism between the individual and the wider community. The broad and subjective trajectory that Hunt maps out is the signature of his work. Hunt moves between personal references, moments and story telling and wider cultural and historical ideas. Hunt never forgets that he is making Art within a global continuum and that he must then become just another part of an historical framework. In this exhibition he explores what appears to be a persistent case of Pareidolia (the phenomana of faces appearing everywhere).

Speaking in a recent interview Hunt gave a glimpse into his fractured subjective and historic narrative

It started as a suspicion; a sixth sense; a gut feeling. Nothing I could put my finger on per se, but it unnerved me. It was like the feeling of being followed, and this grew into the feeling that there was always a presence with me. My children play a game where I searched for them while they hid just outside my vision. They became a shadow. In time I became aware there was more than just the children behind me.

Was I being haunted? Was this a poltergeist or poltergeists? Was this my Mother from the dead? Or was I just losing touch with reality? I started painting, loosely, without intent.

I let my eyes look backwards to capture a glimpse of my visitors. My periphery became my focus. I started to examine my archive of images - looking for clues and associations to lead me out. I let the forms go free, the representations surface; I waited for a de-abstraction. Meanwhile I constantly watched the clock looking for missing time.

I asked my cousin who I know had seen a UFO out on the Brand Highway near Eneabba to paint me a picture of the event. I asked my Uncle David about the meteorite impact site he took me to when I was a kid. I had the shock of Sigmar Polke dying. (I still hadnít found my own meteor). I started to look for fulgurites in sand dunes. I became very interested in Lourdes and other miracle sites, collecting everything I could. I broke into the Lascaux Caves looking for evidence. I found where Uri Geller was living in Portugal and tried to make contact with him. By coincidence I kept meeting people who had known Joseph Beuys. And I came across Hector Jandanyís paintings. Then Mike Kelly died.

I began to see everything as reflective and conceived my art objects could also be reflective so as to capture something that is maybe not here in the light. Everything was touching me on my shoulder, then lost in the past.

The Armature marks a struggle between Hunt and Art. Huntís work over the last few years has concentrated on a very direct form of art production by paring things down to basic materials; paper, pencil, paint, in order to locate a purity or essence of what it is to be human. Huntís work searches for simple forms because everything else is so complex. Yet within this framework Hunt has been forgoing the path towards formalism and beauty. Hunt believes that the collision of all these elements does not necessitate Art that people like. Hunt likes this because then, just maybe, there is another form or dialogue to be discovered.

Molybdomancy

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

matt hunt artwork
the armature
watercolour on lana paper
14.8 x 10.5cm
2012
$990 sold
matt hunt artwork
close encounters
pine structure, fluroescent light, concrete, books, paper mache, found wood, t-shirt
240 x 300 x 270cm
2012
$24,500
matt hunt artwork
kerze
watercolour on arches paper
29 x 23cm
2012
$1,800 sold
to turner galleries art angels
matt hunt artwork
black mirror [after malevich]
watercolour on arches paper
29 x 21cm
2012
$1,800
matt hunt artwork
myspace [after kelly]
scraperboard
28 x 22.8cm
2012
$1,400 sold
to turner galleries art angels
matt hunt artwork
the hockey mask II
watercolour on arches paper
34 x 23.5cm
2012
$1,800
matt hunt artwork
the hockey mask
watercolour on arches paper
34 x 23.5cm
2012
$1,800
matt hunt artwork
the giant clam
watercolour on arches paper
39.5 x 55cm
2012
$2,500
matt hunt artwork
untitled [bug I]
watercolour on arches paper
4.5 x 9.5cm
2012
$990
matt hunt artwork
copperhead
watercolour on arches paper
36 x 29cm
2012
$2,400
matt hunt artwork
the follower I
watercolour on arches paper
16 x 14.5cm
2012
$1,200 sold to city of joondalup
matt hunt artwork
the follower II
watercolour on arches paper
18 x 18cm
2012
$1,200 sold to city of joondalup
matt hunt artwork
the small
watercolour on arches paper
40 x 33cm
2012
$2,400
matt hunt artwork
the visitor V
watercolour on rivers BFK
37 x 26cm
2012
$2,000 sold to lawrence wilson art gallery uwa
matt hunt artwork
the visitor III
watercolour on rivers BFK
28 x 27.5cm
2012
$2,000
matt hunt artwork
the visitor II
watercolour on rivers BFK
28.5 x 23.5cm
2012
$2,000
matt hunt artwork
the visitor I
watercolour on rivers BFK
35 x 23cm
2012
$2,000
matt hunt artwork
mongoloid
watercolour on arches paper
22 x 17cm
2012
$1,500
matt hunt artwork
cabin fever
scraperboard
18 x 15.2cm
2012
$1,200
matt hunt artwork
the forecaster
watercolour on arches paper
13.5 x 12.5cm
2012
$990
matt hunt artwork
the periphery
watercolour on arches paper
16 x 14cm
2012
$990 sold to city of joondalup
matt hunt artwork
floater
watercolour on arches paper
14.5 x 13.5cm
2012
$990 sold to city of joondalup
matt hunt artwork
the past
watercolour on arches paper
37 x 34cm
2012
$2,400
matt hunt artwork
untitled [outcrop]
watercolour on arches paper
37.5 x 37cm
2012
$2,400 sold to city of joondalup
matt hunt artwork
the visitor IV
watercolour on arches paper
39.5 x 31cm
2012
$2,000
matt hunt artwork
the mystic
watercolour on arches paper
49 x 40cm
2012
$2,400
matt hunt artwork
abductor I
watercolour on arches paper
33 x 23.5cm
2012
$1,500 sold to lawrence wilson art gallery uwa
matt hunt artwork
untitled [bug II]
watercolour on arches paper
6 x 12cm
2012
$990
matt hunt artwork
the casualty
watercolour on arches paper
33 x 23.5cm
2012
$1,500 sold to lawrence wilson art gallery uwa
matt hunt artwork
the chemist II [after beuys]
gouache on printed paper
8.5 x13cm
2012
$990
matt hunt artwork
fish fountain
scraperboard
30.5 x 23cm
2012
$1,400
matt hunt artwork
untitled [the close encounter]
screenprint on BFK
22 x 29.5cm
2012
$1,200
matt hunt artwork
the chemist I [after beuys]
gouache on printed matter
23 x 18cm
2012
$1,400
matt hunt artwork
dreamland
watercolour on arches paper
26 x 26.5cm
2012
$1,500
matt hunt artwork
the hockey player
watercolour on arches paper
22 x 18.5cm
2012
$1,800
matt hunt artwork
african goods
ink on arches paper
15.2 x 21.3cm
2010
$1,200
matt hunt artwork
deep clarity I
wood, milliput, enamel paint, varnish
83 x 24 x 17.5cm
2011
$2,800