Statement of Practice
Statement of Practice
The boundaries between the image world and the physical world have long been continually eroding. It is a part of being in our digital world. I am interested in this in-between space between image and physical space, material and immaterial, presence, and absence, motion and stasis, body and mind. My work often questions notions of time, space, light, memory, and the archive, and I strive to understand where the material and immaterial worlds meet. My fascination for both the act of making with materials and my hands, and the making of images leads me to probe how images, objects, and experiences can fit into this uncertain world. Taking a multidisciplinary approach, my practice merges photography, sculpture, installation, video projection, and drawing. Crossing boundaries between these media my work explores themes of temporality, memory, consciousness, and time. I am interested in how sensory experience shapes memory and forms an understanding of the self. This inquiry leads me to examine the ways in which personal, cultural, historical, cinematic and material forms of memory change, bend, and stretch over time, space, and place. My research and studio practice focus on how these immaterial concepts manifest in material ways.
In my most recent work of the past five years I primarily use experimental photography, light, transparent film, sculpture, and fragile materials to produce experiential and spatial installations that explore memory, the archive, time, the psychology of space, the self, consciousness, and lived experience. My resultant works often rest between installation, sculpture, and photography on transparent film; using light as a material in both the creation and presentation of the work. I use colour photographs on transparent film to test the materiality of photography, the immateriality of light, and their affect on the mind and body. By investigating the history of photography, theories of space and time, and the processes of memory and making, I ultimately aim to address the experimental possibilities of image and object making in our screen obsessed and digitally saturated culture.
© Natalie Hunter