Belong #Y by Paul Hunter.
Hunter says that "luminosity is the underlying theme of my work," but neither that statement nor seeing his work on the screen can bring that home like seeing his work in person. Recently, I came across two of his works at a show on Modernism, and I simply stopped in my tracks. Literally, stopped and went no further. I think my jaw might have very unattractively dropped open. I stared and stared.
Following the link, you'll get more information on his technique, but basically, he uses metal foils, along with some acrylics, occasionally acid, on a gessoed and prepared canvas. So, the effect is much like seeing a gold ring on the screen versus holding the ring in your hand. The craftmanship and eye for beauty is inherent in every piece.
As I went around a corner at this show, I found two more of his works. Again, I couldn't move forward. The gentleman who had the booth was very friendly and explained to me a bit of Hunter's technique, but it comes down, in the end, to what you feel in your heart and soul when you look at a piece of art. And for me, this was by far the most affecting art I have seen in a very long time. Even now, my eyes tear up as I write this.
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Story: Cords
July's heat soaked into their skin. Reluctantly, the girls took to unbraiding their hair each morning. Practiced fingers worked like little white spiders, until they were parted once more, no bridge between them. To make up for this, they would frequently brush their hands against each other until sunset. Then, under the baleful moon, they would twist and twine their dark hair together again. Thus fastened, they would slip naked into bed, lying on the cool sheets, sharing the pillow.
"Goodnight, sister."
"Good night, sister."
A/N: Inspired by this drawing by Kiersten Essenpreis.
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