Natalie Hunter is from Hamilton, Ontario, Canada. She works between photography, installation, and sculpture, and is mostly known for her multilayered and experiential photo-based installations on transparent film. With a fascination for both image making and working with materials by hand, she explores ephemeral and immaterial concepts like time, light, memory, space, temporality, perception, and the senses, through material, image, and form. She holds an MFA from the University of Waterloo, and a Bachelor of Art in Visual Art with a Concentration in Curatorial Studies from Brock University (First Class Standing). She has shown her work in Canada and the United States in numerous exhibitions, including: the Hamilton Supercrawl, the Art Gallery of Hamilton, University of Waterloo Art Gallery, Thames Art Gallery, Rodman Hall Arts Centre, Mississauga Living Arts Centre, Hopkins Centre For the Arts at Dartmouth College, the Art Gallery of Windsor, Centre 3 for Print and Media Arts, Factory Media Centre, Latcham Art Centre, and Museum London. She is the recipient of several awards including Ontario Arts Council Visual Artists Creation Project Grants for Emerging Artists, a Canada Council for the Arts Research and Creation Grant, the Keith and Winifred Shantz Internship Grant, Sylvia Knight Award in Fine Arts (co-recipient), Ontario Graduate Scholarship, and a President’s Graduate Scholarship from the University of Waterloo. She is a sessional instructor at the University of Waterloo where she recently received an Excellence in Online Teaching Award. She lives and works in Hamilton.
Natalie Hunter's work extends across photography, sculpture, installation, and video. Throughout her art practice she explores the poetics of time, chance, temporality, perception, light, motion, consciousness, and making as they relate to sensory comprehension and memory formation. Whether sculpture or image based she engages with materials and form while considering how the spaces in which we dwell affect our perceptions of time and place, and resonate with associations of memory and the senses. In both image making, sculpture, and their installation, light is fundamental to her process. Her evocative installations composed of image and sculpture create contemplative spaces and experiential encounters that become poetic meditations on the act of making, the fragility of memory, and our relationships with the material and immaterial worlds we exist in.
“I am a sculptor who fell in love with images. In my installations, photographs, and sculptures, I explore ephemeral and immaterial phenomena like time, light, memory, the senses, space, temporality, and perception through image and material form. I have a fascination for both the act of making with materials and my hands, and the making of images. Over the past nine years I have produced sculptural installations using photographs on transparent film and other fragile semi- translucent materials like silk and backlit films that engage with the poetics of time, memory, chance, perception, light and the senses. Combining the intangible staples of film exposure—light and time—with the material aspects of sculpture, I explore the luminous, fragile, and transient properties that photographs on transparent film bring to concepts of memory, the passage of time, motion, and space. I often work with photographs on transparent film and other suspended, ephemeral, translucent, malleable, or fragile materials that embody the slippery space of thought, memory, time, and the act of making. Folding, curling, draping, layering, and bending images within space, I create immersive experiences and intricately layered installations that evoke reverie, sensory comprehension, and memory formation while questioning how our bodies flow through physical and non-physical spaces. Pinning my photographs to the wall in layers or undulating waves and draping them over wood, metal, and plexiglass structures, my installations become experiential encounters that speak to the poetics of light and memory, collapse time and space, question our relationships with the material and immaterial worlds we exist in, and how we understand memory, physical, and psychological space.”
Above documentation image by Andrew Butkevicius
© Natalie Hunter 2021. https://natalie-hunter.com