Piece description from the artist
This is the first piece in an abstract series I did in 2011. It is comprised of two separate cardboard layers, fused together. It represents an experiment in pattern and deviation.
I wanted to examine the compounding nature of contemporary art (visual and non visual); how different works across populations interact, and build off of and upon one another. I also wanted to show how most art is by nature allegorical, with meaning which is not always obvious but often hidden.
As with all my art most of the motivation comes from the process itself i.e. works are in flux and change dramatically from one stage to another. The electrocution process, for example, changes the color and texture of the paint; when the burning is severe enough it allows for access to deeper layers which I paint separately. All of the black in the painting is the strong, burnt, charcoal color.
For this piece I drew from my street-art background. Growing up in Miami, Florida there has always been the strong presence of this art form. The stencil-like appearance of the enlarged stamp pattern, the dripping white gesso, and the bold color contrasts all seem a testament to this.
Cory Hunter is an artist from Miami, Florida, who works at the intersection of art and science. He describes his main motivation as “capturing the creative moment;” rather than creating an image, the intent of the work is to translate the psychographic energy of his movements, while allowing the physical properties of the medium to shape the resulting compositions. In this way, his work can be explained as aleatoric, for a portion of the creative process is left to chance.
Cory’s art is an exploration of how spontaneity is at once random and uniform, given the principles of fractal geometry. Stylistically, his work is a blend of classical oriental watercolor with contemporary pop art and abstract expressionism. His use of gouache paint allows for strong, striking, color combination, but maintains a delicate feel. Though the subject matter of his works varies, he explains that using recognizable iconography encourages a subjective interpretation.