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 the spaces 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 how materials can transform space. These inquiries lead me to examine the boundaries between mental and physical spaces, time and memory, material and immaterial, light and space, motion and stasis, presence and absence. My research and studio practice challenge how these immaterial concepts manifest in material ways while considering how the nature of memory can change, bend, and stretch over time, space, and place.

For the past five years, my work has existed somewhere between image and sculpture. Primarily using experimental photography, light, transparent film, sculpture, and other fragile materials, I create images, objects, and spatial installations that explore memory, the archive, time, the psychology of space, the self, and consciousness. My resultant works often rest between installation, sculpture, and photography while accentuating the importance of materiality in relation to the senses, memory formation, and immediate lived experience. Making photographs with transparent film enables me to use 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 as they relate to sculpture and installation practice, 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