I’m fascinated with looking at representations of people who existed in the past and I am driven to compare them to the present. I am interested in one the earliest forms of visual media - the print - because it can point to how past civilizations defined ideology and social ideals through image-making and mass distribution. I’m interested in reconfiguring these prints to highlight the liveliness and vibrancy of invention and forgotten histories. My practice is a means to connect unusual analogies between the past, the present, and our speculative evolution. I use print history as my visual tool.
Often I am thinking about scale – the micro level (bacteria) in relation to macro (the universe and the stars). This thought process is most obvious in my paintings, where the larger face acts as a container for smaller figures, a zone to act out the violent bestial side of human beings and civilisation. I use clay as a medium to question the strangeness of plastic. How it is at once a poison, and a contemporary artefact. Exhuming oil from compacted old growth forests is literally “digging up the dead”. My work aims to explore the tension that is played out by the analogy between clay (earth) and plastic (oil). I have focused on inventing or ‘mimicking plastic’ in singular ceramic objects that represent ‘accessories of power’.
The study of ornamental forms, symbols and meanings is an intrinsic part of my practice. I use decoration to question the hierarchies of beauty and revulsion. I am interested utilizing ornamental forms that speak of power and influence. I work in maximalist and visceral way. My current favoured material is clay, as it lets me create deceptive and inconceivable objects.
Emily Hunt was born in Sydney, Australia. She relocated to Berlin permanently in 2017.
Hunt has been running Big Ego Books with Raquel Caballero since 2015. She was the co~Dictator of DUKE Magazine, an artist magazine focusing on Australian artists, thrift culture and celebrities between 2005~2009. Emily was selected as a participant in the Goldrausch Künstlerinnen Projekt 2020. Recent exhibitions include It takes time, it’s risky, it might last forever,. Hans Arp Museum (2018) and Second Sight: Witchcraft, Ritual, Power, UQ Art Museum (2019). Her work in held in collections that include The Cruthers Collection of Women's Art (CCWA), Artbank, Manly Art Gallery and the Laverty Collection. Recent exhibitions in 2020 include disturbance:witch, Zitadelle Spandau Museum, Berlin Germany, Sirene ~ Goldrausch at Kunstraum Kreuzberg, Bethanien in Berlin and solo exhibition at KNULP gallery Sydney.
Solo presentation at Galerie Wedding, Berlin ~ Jobcenter Aufgelande Orte Psychic Places, curated by Solvej Helweg Ovesen opens on the 11th March 2021