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Cory Hunter

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20120615215653-love
Love, 2012 Gouache and High-voltage Electricity on Cardboard 40" X 30" X 2" © CoryHunter
20120618181644-la_guitara
La Guitara, 2011 Gouache and High-voltage Electricity on Cardboard 24" X 18" X 4" © Cory Hunter
20120619215410-sunset
Sunset, 2011 Gouache and High-voltage Electricity on Cardboard 24" X 18" X 5" © Cory Hunter
20120619215516-girl_2
Girl 2, 2012 Gouache and High-voltage Electricity on Cardboard 24" X 18" X 4" © Cory Hunter
20120619215724-world_trade
World Trade, 2012 Gouache and High-voltage Electricity on Cardboard 36" X 24" X 1" © Cory Hunter
20120619220805-cherry_blossom9
Electro-Fractal Cherry Blossom, 2012 Gouache and High-voltage Electricity on Cardboard 30" X 20" 1" © Cory Hunter
20120927032210-gaby-small
All Around, Gabby Douglas , 2012 Gouache, Oil, and High-voltage Electricity on Cardboard 40" X 30" X 2" © CoryHunterArts
20120615215652-newlogo
Quick Facts
Birthplace
Miami, Florida
Birth year
1990
Lives in
Miami, Florida
Works in
Miami, Florida
Schools
University of Florida, 2012, BA
Tags
pop, realism, landscape, surrealism, modern, traditional, abstract, graffiti/street-art, sculpture
Statement

My name is Cory Hunter and I am an artist from Miami, Florida. My work explores the spontaneous organic form as it is expressed through naturally occurring fractal patterns. Historically, art has reflected a cosmological understanding of an artist and/or a society. Certain classical works portray religious themes—the dominating ideologies—with the fervor that contemporary works display the political, economic, and technological. These are representations of governing forces; creative forces responsible for the make-up of the world. Thus, the iconography that develops around them is indicative of both the individual artistic subjectivity and the most prevalent symbols of the relevant, historical moment. In this way, my work represents my own cosmology, where life is perfectly random and fractaly uniform.

In order to be considered fractal, a pattern must be self-similar and immeasurable through traditional means. In other words: on differentiating scales fractals retain a similar form, and this form is difficult to measure because it can’t easily be segmented to a standard unit. Nearly every organic form can be broken down into fractal patterning. Some examples are: geographic boundaries (distance of shorelines), dendrite patterns (vascular systems, river networks, leaf structures), and lightning bolts (Lichtenberg figures). In order to create fractals, I use high voltage electricity to burn patterns into recycled cardboard (a non-conductive medium). The result is the capture of spontaneous organic burn patterns as the electricity passes through.

My process also includes specific paint application techniques—high medium to pigment ratios, exaggerated strokes, and fine outlines—to highlight the organic forms and allow them to play off of one another. In this way my work is a sort of bricolage (the putting together of disparate parts). It is this interaction of compounding fractal-organic forms that is at the heart of my work. But, upon completion each work tends to assume a basic semiotic structure; each piece has some symbolic meaning. This is not to say that they reflect an underlying intention, but rather a degree of abstraction that allows viewer accessibility and participation.

I like to say that my work is art-improv, and that it develops dialectically; like a conversation between me and the piece about its meaning. And this is the goal of my work: to allow meaning to arise subjectively, like finding figures in the clouds.