Several seas away, some words were recently written about Alana Hunt and her bare feet slapping across the mud as she collected other people’s damaged paintings in a washed away town. Wandering home, past the light of a soft fire, unable to disturb an old septuagenarian couple making love, damp beds smelling sour, a seemingly unmindful Alana searches for salt to put in the cups of nun chai from Kashmir that she holds tenderly in her hands.
Alana’s practice defies singular definition. Characterised by a gentle though challenging approach to participatory practice her work is best understood not so much as a producer of art-objects but rather as a catalyst of culturally charged encounters – experiences, feelings, taste, a kind of shared breath.
Working imaginatively with old and new media across a range of different contexts, from the valley of Kashmir to the suburbs of Sydney, the streets of New Delhi and the remote East Kimberly region of Western Australia, Alana’s work grows from, responds to and works with the local environments and social relationships she inhabits.
Her recent projects, Paper txt msgs from Kashmir (2009-2011) and the ongoing memorial Cups of nun
chai (2010-2011), have emerged from the Indian occupied region of Kashmir.
Alana’s work has taken place extensively within Australia, Asia and Europe. Most notably at the National Gallery of Indonesia (Jakarta, 2009), the Asia Triennial Manchester 11 (Manchester, 2010), S.LOW cross-disciplinary project (Berlin, 2010), Sarai Media Lab (New Delhi, 2008-2010), and as part of Memefest: International Network of Radical Communication (Ljubljana/Nijmegan, 2010-2011).
From 2008-2010 Alana was based in New Delhi. She currently works for Warmun Art in the remote East Kimberly region of Western Australia.