HUNTED PROJECTS

2012-02-14T10:13:00.003-08:00

MICHAEL YINGER - INTERVIEW

HUNTED PROJECTS met Michael Yinger in New York in March 2011, it was a great encounter and now HUNTED PROJECTS would like to introduce his work directly to you by virtue of a short interview along with some images of his work. For those who are not familiar with his work, Yinger's practice revolves around assemblage and site specific installation, using found materials and objects in an almost painterly fashion to comment upon his surroundings within contemporary America.

Michael Yinger is a Brooklyn based artist and recently completed the Grand Canyon Artist residency.

Tell us a little about yourself and artistic background....

MY: Bloomington, Indiana was where I was born and lived till I was eight. It's a beautiful small college town. I spent my teenage years in Indianapolis, Indiana and this is where I attended Herron School of Art for my BFA. Then I moved to NYC to attend Hunter College for my MFA.  

How did you get into making your artworks?

MY: I've always utilized my surroundings as a means of artistic stimulation. The work then becomes an abstracted reflection of my surroundings in that space and time. I attempt to filter these ideas into the physical object of some aesthetical value; be it installation, painting, photographs or video. For me, it's a abstract thought that I manifest to the material form.   

Can you discuss some of your influences and inspirations?

MY: Joseph Beuys, Anselm Kiefer, Judy Pfaff, Tara Donovan, Richard Serra, Gabriel Orozco, Michael Heizer, Richard Long, Eva Hesse, Jon Pylypchuk, Nari Ward, Meg Webster, Andy Goldsworthy, Maurizio Cattelan . Work and concepts that tend to lean towards groundbreaking.  

How was your residency at the Grand Canyon National Park?

MY: It was one of the most incredible experiences of my life.

You are here

Found Materials

Grand Canyon National Park

2011

What works were you developing during this period?

MY: I worked with a concept from the maps around the Park. Each map had a dot with a caption "You Are Here".  I turned the dots into life size circles (8 ft diameter) and made 38 "dots" all over the Park. I used any and all materials I could find in and around the Canyon. I then drew my own map of all the locations of the dots/circles titling it "You Are Here".

What are your plans for 2012? Do you have many exhibitions lined up?

MY: I'm in the process of curating a large show here in NYC with 50 artists, and I will be in a group show in Edinburgh Scotland.  

Are there any particular artworks that are exciting you at the moment?  

MY: Maurizio Cattelan's show at the Guggenheim

What are your thoughts on the current New York art circuit?   

MY: There's some good work going on right now in NYC... You just have to look really, really hard for it. 

2012-02-07T15:42:00.000-08:00

EDWIN DEEN - INTERVIEW

HUNTED PROJECTS discovered the work of Edwin Deen in early January 2012, since then an interesting dialogue between himself and HUNTED PROJECTS developed generating a thorough exploration of the artists practice. HUNTED PROJECTS entirely enjoyed discovering Edwin Deen's work and we hope that you also enjoy his work.

Tell us a little bit about yourself and artistic background....

ED: My background is Architecture. I grew up in a village near Utrecht in the center of the Netherlands. After high-school I did a bachelors in Construction Engineering in Utrecht and then I went to work for an architecture office then started my studies in Architecture at the Academy of Architecture in Amsterdam. Nearly half-way I started working more and more as a photographer. I met a teacher who asked the right question at the right moment: 'Are you at the right place/ should you study at the Rietveld Academy?' A major change occurred, I applied to the art academy and quit the job and the architecture studies.

How did you get into making your artworks?

ED: I got into making artworks during my studies through my insatiable curiosity for 'things out there' was already there, but it was at the Rietveld Academy that I found a way to visualize all the interest in my own way.

Experimenting is the fundament for everything I do. Actually, I never wanted to make artworks. I wanted to do visual experiments by playing with elements of my interest, maybe to prove there is more to see in the things that surround us. It was about the experiment, not about the result as being art. As a matter of fact: artworks did come out…

Terra Incognita

Installation View

2009

Terra Incognita (2009) explores the unknown, unexplored and undocumented transformation of materials. Your experiments, artworks, and scientific research predominantly focus on this metamorphosis of the material as a celebration of manipulated and undiscovered beauty. Could you discuss your working process for HUNTED PROJECTS? i.e – how is your studio time spent researching such concepts?

ED: It's hard to define my working process. During my artist-in-residence time in Warsaw I gave a lecture about it: work( )in(g) pro(gr)(c)ess. In half an hour I showed and talked about app. 250 images and video fragments of my studio, works in progress, exhibited works and inspirations. I didn't decide on the order on forehand, if I had shown the image I removed it from the folder of my computer, so I ended with an empty folder. I guess this was a direct translation of the way I work. Many things at the same time, in disorder, but if it comes to presentation a certain clear logic comes in. You can see this logic in the installation 'terra incognita': several different self sufficient experiments are shown on a white board table.

My experiments start with an interest in a phenomenon, or simply with an interest in a 'hidden' possibility in a object or machine. This possibility is often both physical (from physics) and aesthetic.

Collection 20090905 - 20110311

Installation View

2009

Could you discuss your artwork 'collection' for HUNTED PROJECTS?

ED: The 'collection' functions as a source for works. I'm collecting all the time, everywhere. The objects themselves have the possibility to become (part of a) works. The 'collection' is also a work on itself. Like most of my other works, it's in progress. I add things and I take things out. (writing this makes me think: this could be where it differs from i.e a stamp-collection, there is no goal to get it complete. There is no 'real' logic or rule. There are also no objects with a higher value, at least as long as they are within the collection.*) The 'collection' shows things from our consumer driven society, and often refer to or clearly have this 'hidden' possibility i spoke about in the former question. It's also a kind of subconscious and intuitive thing at the same time.

Could you share with us what you are working on at the moment?

ED: I'm working on 'local collections'. Collections that contain the same kind of elements but are made on a specific location. I made one in Chazelles (FR) recently. I can not tell more about it yet, it's very fresh..

Can you discuss some of your influences and inspirations?

ED: At the moment I am into the Zero art movement. (in dutch: Nulgroep) The Zero artist uses existing objects and materials - like plastic, water, fire - to make very minimal works. I share their philosophy 'the beauty in things is already there'. My work differs from theirs: I often have to put things in action to make this already contained beauty visible. I'm very inspired by science/ physics: I often work with the laws of nature.

What are your plans for 2012, do you have any exhibitions lined up?

ED: On February 15 I will give a Pecha Kucha lecture in The Hague (NL). In April I will take part in the exhibition "Use it again" in Oranienbaum close to Dessau/ Berlin (DE) with the work 'liquid rainbow' (2011) and maybe some more. I'm working on finding another place to show this installation. Furthermore I'm working on new works, I started to work on an application for a grant and I am orientating in the 'Gallery world'. In October 2011 I started teaching as mentor in the Foundation Year of the Rietveld Academy and from February I will be a guest teacher at the Academy of Architecture. From the summer of this year I'm still kind of open, I like that.

Are there any particular artworks you especially like?

ED: Till now there is one artwork that made me cry: Rheinmetall/Victoria 8 by Rodney Graham (2003). Amazing!

Untitled

2008

Liquid Rainbow

2011

Natuurkundige Natuur - Physical Nature

2009

Edwin Deen

http://www.edwindeen.nl/

Link to Liquid Rainbow Youtube:

http://www.youtube.com/watch?v=wmqp-T3Algo&feature=player_embedded

2012-01-31T11:28:00.000-08:00

JENNIFER SANCHEZ - INTERVIEW

HUNTED PROJECTS got the opportunity to chat with the New York City based artist Jennifer Sanchez, her work has been shown with Kinsey/Desforges and Saatchi. Sanchez's work predominantly explores geometric abstractions to depict a state of visual flux.

Tell us a little about yourself and artistic background....

JS: I'm from Tampa, Florida. Went to a liberal arts college and got a B.A. in Fine Arts and Graphic Design. But I started making paintings in high school and knew I wanted to do something arty, but didn't think I'd be a painter. I figured I would work at a magazine or other type of graphic design.

How did you get into making your artworks?

JS: I saw a show of Keith Haring's work in Tampa when I was in high school and it totally changed my perception of what art could be. It was the first time I realised I could make art.

Can you discuss some of your influences and inspirations?

JS: It changes, but lately geometric patterns in ancient and new textiles, Anni Albers' work, and the work of contemporary artists like; Hugh Scott-Douglas, the anonymous tantric paintings up now at Feature Inc.Gallery
in the Lower East Side, Rob Nadeau, Olve Sande, Mark Bradford and Bjorn Copeland.

What are your plans for 2012,do you have any exhibitions lined up?

JS: More painting and looking at art. I'll be in a group show in March in NYC, the details are still being worked out.

Are there any particular artworks you especially like?

JS: Holbein's Sir Thomas Moore at The Frick Collection. It's ridiculous how beautiful this painting is. That Holbein could paint the hell outta some fur! That painting is so damn life like, I swear Sir Thomas is gonna turn to me and say something, I can spend days in The Met's new wing for Islamic Art and in their Arts of Africa, Oceania, and the Americas Galleries.

ny.11. #43

Mixed Media on Paper

11.25" x 7.5"

2011

ny.11. #38

Mixed Media on Panel

16" x 12"

2011

ny.11.#06

Mixed Media on Panel

16" x 12"

2011

ny.11.#22

Mixed Media on Panel

12" x 16"

2011

ny.11.#42

Mixed Media on Paper

11.25" x 7.5"

2011

Jennifer Sanchez

www.miss-sanchez.com

2012-01-23T04:12:00.000-08:00

MARI JOHNSEN - INTERVIEW

HUNTED PROJECTS is delighted to present the work of Norwegian illustrator Mari Johnsen, her fantastical world of imagery visually stimulates the spectator through the expanse of juxtaposed magical creations, successfully toying at the strings of ones inner child.....a true delight to explore.

Her work has been recently published by Booooooom Online, It's Nice That, Forresten, The Curious Brain, Vivaldi, and Coroa Magazine...to name a few :)

Tell us a little about yourself and artistic background....

MJ: I was born in Bergen/Norway, these days I live and work in Oslo. I finished an MA in storytelling at Konstfack (Stockholm) last year, where I specialised in animation for my final project.

How did you get into making your artworks?

MJ: I have always been drawing and experimenting with different ways of communicating stories. Growing up I was encouraged to be creative, so studying arts was a very natural direction for me.

Can you discuss some of your influences and inspirations?

MJ: Some influences would be: Nature, manipulated nature, such as in botanical gardens, animals, science, old folk-art, a lot of Mexican folk-art these days, music and the visual culture that follows music, Japanese woodcuts, outsider-art, religion, superstition, things that are both humorous and dark. I always get extra inspired from traveling, and discovering new places and people. On a daily basis I also search the internet and books for ideas.

What are your plans for 2012, do you have any exhibitions lined up?

MJ: I want to focus on personal artwork in 2012. I am currently working with lino-cuts and digital prints for a solo-exhibition in Oslo soon, with inspiration from the archive at Oslo´s Natural History-museum, where I search for strange animals and flora which are unknown to me. I also want to work more with pencil-drawings and ink-drawings on larger formats than I do now, to see where it takes me.

Are there any particular artworks you especially like?

MJ: I saw a film on Vimeo the other day I got really drawn into, called RAUSCHEN, by Andreas Nicolas Fischer. Very eerie meeting of sound and image. Also, the animations by Allison Schulnik, they are really beautiful and poetic.

Room 1

Illustration from Barbie-Nills og Pistolproblemet

(Barbie-Nils and the Problem with the Gun)

Published by Gyldendal

Room 2

Mari Johnsen

www.marikajo.com

2012-01-17T06:08:00.000-08:00

AARON MORAN - INTERVIEW

For the past few days HUNTED PROJECTS has been developing an interesting and thorough dialogue with Canadian artist Aaron Moran. His work encapsulates notions of temporality within the developing surroundings of Langley, a suburb 40 minutes east of Vancouver.

Arron Moran is currently an artist in residence at the Ranger Station Art Gallery in Harrison Hot Springs, British Columbia.

Tell us a little about yourself and artistic background......

AM: I am from Langley, a suburb forty minutes east of Vancouver, and because of this I was fortunate enough to grow up experiencing both urban and rural environments. Understanding the relationship between these two environments essentially became the basis of my art practice. I studied visual art at Emily Carr University of Art and Design in Vancouver, and received my BFA in 2007. After that I took a year studying film at Simon Fraser University.

How did you get into making your artworks?

AM: At present, the Fraser Valley (in which I’m located) is growing at a very rapid rate, meaning that housing and development is on the rise. My work literally grows out of this development as I use predominantly found materials from housing / demolition sites around my neighborhood and surrounding areas. There are entire blocks of forests and single dwelling homes getting toppled to make way for town-homes and high occupancy / close proximity condominiums. I could not help but be drawn to these lots to further investigate and what I consistently ended up finding were large stock piles of building materials (from old homes and new) left for waste. I was drawn to the beauty, history, and story of these materials and naturally began using them.

Are the developments within the Fraser Valley having a positive impact on the development of the creative and artistic community? By this I mean, are there more galleries popping up? Is there a larger creative community developing?

AM: In my specific hometown, it is far from positive for art and culture. The homes tend to cater to young families (and increasingly wealthier ones, undoubtedly forced by developers) that would rather watch television and go shopping at strip malls than attend a gallery. There are very few outlets for artists to show that do not cater to landscape, nature, and other such rural themes. While I have tried on many occasions to participate in my community’s cultural dialogue, it feels like there is nowhere to do so. Conceptual art doesn’t seem to fly in the suburbs. People are more interested in buying a print from Ikea that matches their sofa than being confronted with a piece that challenges the ideal they are buying into.

It may sound jaded, but I do not think it’s far from the truth. In the last twenty-something years, I have seen my community change drastically with attention being paid only to the financial outcomes of developers.

Can you discuss some of your influences and inspirations?

AM: The environment is probably my biggest inspiration. I am interested by the way communities change and with this change, history slowly becomes forgotten. I am fascinated by architecture and geometry in a big way as well. I think both of these grow from my relationship with the suburb, development practices, etc.

Do you see your artworks as a form of documentation of the passing of time with the Fraser Valley? i.e, using found materials from your area? And related to this, does your colour palette reflect this at all?

AM: Absolutely. I think they are representative of the shift in modern building practices, such as a move away from wood in favour of concrete, steel and synthetics. What this means for me is access to plenty of materials discarded as waste. Homes once represented their inhabitants via their style, construction, size, gardens, landscape, paint job... the list goes on. Contemporarily, close proximity living disallows this expression with prebuilt structures incapable of customization accompanied by strata councils, neighborhood aesthetic guidelines, etc.  It seems like materials such as wood have become placeholders for the homes that now stand in the shadows of these modern forms of living. It is the materials that create a contrast between the living practices of the past and those of today. I like to think that the work draws attention to this historical contrast through its material usage, structural /architectural qualities, complexity, and apparent organized chaos.

What are your plans for 2012, do you have many exhibitions lined up?

AM: 2012 is undoubtedly going to be a busy, yet productive year for me. I’m currently the artist in residence at the Ranger Station Art Gallery in Harrison Hot Springs, BC, participating in a one-year program that takes me all the way to August. As of right now there are two confirmed exhibitions lined up. June will be at the Ranger Station gallery as a solo exhibition of the work completed throughout the residency. The second is a solo show in July at the amazing Blim in Vancouver.

Can you tell me a bit about your views on the Canadian art scene? What is it that’s exciting to you at the moment?

AM: In Vancouver, there have been a lot of gallery closures in the last little while. Most of the exciting art happening on the East side has been pushed away due to gentrification of the neighbourhoods and, of course, development of existing properties. This being said, there are a lot of interesting and untraditional projects popping up throughout the city. Eg: Rubble Gallery, Yac Tac, Trifecta, 304 days, The Cheaper Show. Something all of these have In common is their immediacy (some events lasting for only one day), and circumvention of the traditional art structures and hierarchies. People are taking art and its exhibition into their own hands.

Are there any particular artworks you especially like?

AM: I have a hard enough time picking artists that I would consider ‘favourites’…. There are just too many. What I can say is I am drawn to geometry, architecture, and unique material usage. I tend to favour the abstract.

Other than painting, I discover that you are involved with Zine culture, would you like to discuss that?

AM: Artists are often expected to find their voice / aesthetic / theme and stick with it, which often means that work outside of these considerations is either never seen, or worse, never produced. The zine, for me, is a way of circumnavigating these expectations. Zines allow me to neatly contain ideas other than those I pursue in my ‘main’ practice, while still allowing me to produce a professional product that is taken as seriously as anything else I would make. I want to be free to explore anything I want without self-censoring….the zine allows this.

Space Temple 1

22 x 18 x 17

Found Wood, House Paint, Varnish

Space Temple 2

23 x 13 x 16

Found Wood, House Paint, Varnish

Excavations

30 x 32

Acrylic, House Paint, Graphite, Varnish on Found Wood

Excavation Studies

9" x 10" (each)

Acrylic, House Paint, Graphite, Varnish on Found Wood

New Zone Structures (diptych)

16" x 32" (each)

Acrylic, House Paint, Graphite on Reclaimed Panel

Websites featuring the work of Aaron Moran can be found below:

http://aaronmoran.tumblr.com

http://yearonalake.blogspot.com

http://badgeometry.tumblr.com

2012-01-15T05:28:00.000-08:00

EMIR SEHANOVIC - INTERVIEW

Bosnian Artist Emir Sehanovic took some time out of his busy schedule to give HUNTED PROJECTS an interesting insight to both his background and his influences. What must be said is that 2012 is going to be an exciting year for this artist as he is quickly gaining attention, already within 2012 he has been highlighted by Blend Magazine online, Beautiful/Decay Magazine, Booooooom Online and Brown Paper Bag.

Tell us a little about yourself and artistic background...

ES: Well, I am a tall guy with a moustache. I live with my lovely girlfriend and our crazy dog. I was born in Tuzla, a town in Bosnia and Herzegovina. I didn't go to art school, I studied physics.

Do you continue to study physics or have you chosen to focus entirely on your art?

ES: No, I quit studying physics one year before the end of University, kind of a stupid thing but I was possessed with art. I started to work as a graphic designer and continued to make art.

How did you get into making your artworks?

ES: When I was young my mother was working as an accountant in a gallery, so I spent some time there and checked all the corners of the gallery. As a kid, I thoroughly explored the space, it was a great experience...it was like I was in wonderland. I guess thats how I got into making art, I want to make my own wonderland. Thats how I got interested in art but I didn't get serious about making art until I was 18 years old. Firstly, I started doing some graffiti, as time passed I was getting deeper into it, more serious street art and then other art forms. I still paint outside, it is a great feeling. I consider myself a street artist.

How would you describe your artwork to someone?

ES: It is difficult to explain my own work to someone, I guess manipulation could be the right word. In terms of street art, manipulation of space and in other cases it would be the manipulation of existing imagery.

Can you discuss some of your influences and inspiration?

ES: African Art and the works of my friends are most influential, I am inspired by shamanism, black magic and Bosnian alternative medicine.....weird stuff.

What are your plans for 2012, do you have any shows lined up?

ES: Currently I am making artworks for my book which should be out in May. That would be the biggest project for 2012 so far. I also have an exhibition in Sofia, Bulgaria, and a few street art festivals lined up so far.

Are there any particular artists that you especially like?

ES: Puma 34, Sretan Bor, Dulait and Nero 108

101 Soft Pages

Collage

Zagorila

Collage

100 Soft Pages

Collage

99 Soft Pages

Collage

Sihir

Collage Print

Sihir

Collage Print

Zumra

Articles featuring the work of Emir Sehanovic can be found below:

Beautiful/Decay Magazine - http://beautifuldecay.com/tag/emir-sehanovic/

Booooooom - http://www.booooooom.com/2012/01/06/artist-emir-sehanovic/

Blend - http://www.blend.nl/emir-sehanovic/

Brown Paper Bag - http://www.brwnpaperbag.com/2011/10/05/esh/

2011-07-26T14:54:00.000-07:00

2011-07-26T14:46:00.000-07:00

CHRIS BRYANT - MINI INTERVIEW

Tell us a little bit about yourself and artistic background...

CB: I graduated from the Edinburgh College of Art in 2009, and was also lucky enough to have been the recipient of the Battell Stoeckel scholarhip, to study at Yale School of Art in the US. Since graduating, the main focus was on performing and recording with the music group Meursault. This involved performing and recording on the first and second albums alongside other highlights such as writing and performing live soundtracks for the Edinburgh International film festival. Having recently parted with the group, my focus has returned to visual art. I have recently been employed by ECA to work within the printmaking department and currently work alongside my brother under the banner of brothersGRIMM, working on everything from live music performances and remixes, to album art and installation works. I am also one of the in house artists for the music label Song by Toad records.

How would you describe your artwork to someone?

CB: I still struggle with this question, as I feel the answer always changes. Which I think it should do. If there is one constant, I think it is an interest in what happens during the transferring and processing of data from various digital media to more traditional analogue outputs. The focus often relies on the happenings between the transfer from digital to analogue formats and what begins to occur when this process is repeated. The work seems to take shape when the information begins to break down and a combination of human errors start to combine with computer glitches. So the original information is manipulated, copied and re-copied beyond recognition. The process of duplication, repeated replication and degradation of the source material distorts the original to such a degree that the copy itself becomes the source of newly created material.

Can you discuss some of your influences and inspirations?

CB: I am very influenced by music. And how it is made. I see similarities between constructing a visual image and making a piece of sound or music. The idea of layering components that may not make sense on their own, but when placed in the correct way alongside other components, work to make a finished article. Artists like Carsten Nicolai have had a great effect on me. As an artist, he combines elements of science and technology, alongside music and visual art in a way that to me seems harmonious and vital. I am also influenced by modern product and graphic designers. I believe that the border between the people that work in these fields and fine artists, is becoming ever thinner, and that some of the most exciting things occurring right now, are happening because of collaborations between the various fields.

What do you regard as your most ideal working conditions? Music? Etc…

CB: I like to think I work best on my own, but I know this is not true. I think when coming up with ideas, I find it easier to be in a quiet place, where I can just to and fro things in my head, but I think I work a lot better when I am around people who work hard and are completely into what they do. It makes me very excited to have just got a studio space with the guys that make up Superclub in Edinburgh, as they work so hard and are coming out with some amazing stuff.

What excites you at the moment?

CB: Having just come back from the States to find so many people doing interesting things. It feels like Edinburgh has really got something going right now, with the likes of Superclub, Rhubaba, Hunted Projects and Embassy all going strong. It feels good to be around.

2011-07-26T14:38:00.000-07:00

CHRISTOPHER FERNANDEZ - MINI INTERVIEW

Tell us a little bit about yourself and artistic background...

CF: Well, I’m a big guy and I’m good with knots. Aside from that, I recently graduated from Edinburgh’s Telford College, studying photography.

How would you describe your artwork to someone?

CF: I start by apologising beforehand, and then continue to go on to say about how I think my work has divulged a lot of influence from film and naked chicks.

Can you discuss some of your influences and inspirations?

CF: Some of my favorite photographers are people like, Gregory Crewdson, Philip-Lorca deCorcia, Guy Aroch and Phillip Toledano.

What do you regard as your most ideal working conditions? Music? Etc...

CF: Probably something fairly chilled out, in somebody’s room, music and stuff gets people a bit more comfortable I guess. The whipped cream has never really let me down before either so, you know…some of that too.

What excites you at the moment?

CF: Are naked girls a bit too obvious? I don’t know, the summer breeze and puppies? Probably something stupid like, seeing a dog’s head hanging out a car window with it’s tongue out, great day right there.

2011-07-26T14:29:00.000-07:00

ANGUS BEHM - MINI INTERVIEW

Tell us a little bit about yourself and artistic background…

AB: I come from a family of artists so art has always been around me, although photography is still a relatively new thing in my life. I’m not one of these photographers who claim an affinity with the medium stretching back to my childhood; I’d hardly touched a camera until I was about 19 or 20. Instead I painted and drew as a child, and despite possessing what many of my art teachers saw as a natural talent, nothing I produced looked quite how I wanted it to look. I guess that’s why I got hooked on photography, things started to look right for me.

How would you describe your artwork to someone?

AB: My photographs vary quite drastically from piece to piece. It could be said I have no definitive style, but I think what underpins the majority of my work is an attempt to understand and claim my geographical surroundings. I spent my entire childhood moving around, attending schools in the US and Scotland, and constantly moving house. I think a lot of what I do is a reaction to this instability. I still find myself constantly moving and living in foreign countries, but now it’s out of choice and I think photography is a big part of that. It’s a way of remembering the places I’ve been, and understanding the new surroundings I encounter.

Can you discuss some of your influences and inspirations?

AB: Travel has always been my main influence. I bought my first camera in Bangkok when I was 19, and spent the next three years traveling around Australasia and the America’s teaching myself photography as I went. I always wanted my photos to look like the ones in National Geographic or Lonely Planet. Then I went to university and suddenly it’s all heavy theory and concept, not just pretty pictures. A lot of what I do is trying to find a balance between the two. Recently I’ve started to look at architecture and the built environment, so the work of Thomas Demand, Candida Höfer and Nadev Kander have been very influential.

What do you regard as your most ideal working conditions? Music? Etc…

AB: Photographers are lucky in that we can work anywhere. On a beach in the tropics? I wouldn’t really call that working though… the hardest part of being a photographer is cataloguing and editing, so I probably spend most of my time at my computer. Window open on a sunny day, listening to some new music I’ve just discovered… that would be ideal. Either that or in complete silence, alone with your thoughts in the darkroom. I find that really calming and probably one of the few reasons I still occasionally shoot on film.

What excites you at the moment?

AB: I’ve been invited to submit a proposal for a photographic residency in Rome, so that’s pretty cool. I’ve just graduated and am fortunate enough to be making a living as a photographer, so that’s exciting too. I think at the moment just photography in general is exciting me in a way it hasn’t for the last few years. When you study something so intensely at university it’s easy to become disillusioned with it, but now I’m out making my own work and have a lot of opportunities coming my way I’m starting to really enjoy my photography again, so I can’t ask for more.

2011-07-26T14:16:00.000-07:00

SAM LUNTLEY - MINI INTERVIEW

Tell us a little bit about yourself and artistic background...

SL: Tall. Big feet. Likes bagels. Makes photographs.

How would you describe your artwork to someone?

SL: If you need to ask, you’ll never know.

Can you discuss some of your influences and inspirations?

SL: Bjorn Sterri, Robin Gillanders, William Eggleston, Zoe Leonard, Edwin Land, good coffee and my wife.

What do you regard as your most ideal working conditions? Music? Etc...

SL: Outdoors, good light, endless supply of 120 fuji provia and all the time I need.

What excites you at the moment?

SL: Photographing, exhibiting and moving on.

2011-07-26T14:03:00.000-07:00

TOM ADAM - MINI INTERVIEW

Tell us a little bit about yourself and artistic background

TA: I come from quite an artistic family - my mum was a performance artist in the 80s and my stepdad is a silversmith- which has created an encouraging and inspiring environment in my development as an artist. I studied Landscape Architecture for a year at the Edinburgh College of Art, which has also had an influence on my artistic style. However, I moved to study a BA in Drawing and Painting, again at the ECA which I recently graduated from (2011), with Andrew Grant and Catriona White awards.

How would you describe your artwork to someone?

TA: I would describe my artwork as fundamentally an exploration of drawing as a medium. An attempt to blur the lines between the established concepts of drawing, the physical and the metaphysical. This exploration also attempts to question drawing's most core aspect - as an implement to represent the real and the physical. Mundane imagery and objects are arranged using different methodical systems in an attempt to bridge the fault line between the real and the surreal, absurdity and necessity. However, the work that I am exhibiting in Hunted Projects is taken from a side photography project in which drawing is used as a tool to obstruct the viewers perception of the photographic image.

Can you discuss some of your influences and inspirations?

TA: I like things that purposefully confuse and manipulate understanding, I find these things the most interesting to look at. I guess much of Magrittes work is an obvious one. However I also like Sol LeWitt's methodical and regimented techniques used to create an image or structure. Funny things like Nathaniel Mellors 'Giantbum' I like to play around the fault line of these things.

What do you regard as your most ideal working conditions? Music? Etc…

TA: My most ideal working situation is, yes, in a room with music, with some lights.

What excites you at the moment?

TA: This exhibition that I saw today, it was bloody terrific.

http://collections.madmuseum.org/code/emuseum.aspemu_action=advsearch&rawsearch=exhibitionid/%2C/is/%2C/530/%2C/true/%2C/false&profile=exhibitions

2011-07-26T14:02:00.000-07:00

RYAN LAING - MINI INTERVIEW

Tell us a little bit about yourself and artistic background

RL: I carry a camera about Edinburgh in a wee duffle bag and point it in the direction of things I find interesting, the camera not the bag that is…

How would you describe your artwork to someone?

RL: By positioning them in front of my picture and telling them to look at it, it would take a bit long to describe it to someone.

Can you discuss some of your influences and inspirations?

RL: I’m inspired by the places and people around me, although not in a documentary sense. I’m also inspired by the occasional animal, or animal toy.

What do you regard as your most ideal working conditions? Music? Etc…

RL: It changes depending on what I’m working on. If I take a photo of some animal as long as they are well behaved and position themselves kindly in the frame of my camera then I’m happy. Taking photos of seagulls will always be difficult though, even if you feed them sardines. Ungrateful creatures…

What excites you at the moment?

RL: Free cheese.

2011-07-26T13:50:00.000-07:00

2011-07-26T12:31:00.000-07:00

John Bryden

Fear of Failure

Digital Print

50 cm x 40 cm

2011

Stephanie Richardson

Mottled Siamese I

Acrylic on Digitally-Manipulated Found Photograph

29.5 cm x 35 cm

2011

Stephanie Richardson

Mottled Siamese II

Acrylic on Digitally-Manipulated Found Photograph

29.5 cm x 35 cm

2011

Stephanie Richardson

Timmid Symmetry I

Acrylic on Digitally-Manipulated Found Photograph

29.5 cm x 35 cm

2011

Keir McDowall

Found Photograph, Ebay

5 x 7 inches

2011

Keir McDowall

Costume No.97 (Uniform)

Digital Print

40 cm x 50 cm

2011

Aleksandra Zawada

Marshall Bruce Mathers III

Mixed Media and Inkjet on Board

23 x 15 inches

2010

Aleksandra Zawada

Mariana de Austria

Mixed Media and Inkjet on Board

20 x 15 inches

2010

Laura Gill

Moving On

Digital Print

2011

Laura Gill

Reflective Glances

Digital Print

2011

Laura Gill

Universal Forces

Digital Print

2011

2011-07-05T14:21:00.000-07:00

LIAM ALLAN - MINI INTERVIEW

Tell us a little bit about yourself and artistic background…

LA: I live in Edinburgh and work in pencil using images from photographs

How would you describe your artwork to someone?

LA: Humanistic

Can you discuss some of your influences and inspirations?

LA: Belgian painters

What do you regard as your most ideal working conditions? Music? Etc…

LA: Radio 4 and a deadline

What excites you at the moment?

LA: http://youtu.be/603SzmLvGv0

2011-07-05T11:36:00.000-07:00

ALEKSANDRA ZAWADA - MINI INTERVIEW

Tell us a little bit about yourself and artistic background…
AZ: My name is Aleksandra Zawada. I have just graduated from Drawing and Painting at Edinburgh College of Art. I have also studied photography in Japan, where was on exchange in 2009/2010, which had massive impact on my practice.
How would you describe your artwork to someone?
AZ: My work attempts to turn meaningless into something meaningful, something transient into more permanent and universal. I am searching for what consists on original in digital age and interested how it influences the way we look and behave. I look through what surrounds us and try to bring attention to what we absorb without question. Very often I am driven towards multiply reproduced and overlooked. By merging art heritage with fluidity of the digital data (varying from news clips, You Tube interviews to exhibition’s advertisements and leaflets) and mixing photography with other mediums, I question the original context of the image, its original meaning and value. I often use fragile and transient materials, which often have tactile aspect.
Can you discuss some of your influences and inspirations?
AZ: I try to see as much art in gallery or exhibition form as I can. This works best for me. Very often gallery as a space becomes an inspiration itself.
I am excited about most of photography. I always have some around in various forms: artist’s books, magazines, from historical to advertising, anything to be honest. I am more selective with painting. I am also interested in architecture and in relationship of work to its surrounding.
Artists wise, I like work of M. Wyse, P. Pfeiffer, A. Soth, T. Demand, Ai Weiwei, M. Cattelan, Y. Takeoka, Y. Maeda, C. van Evans, S. Tompkins. The list is long and changes often.
What do you regard as your most ideal working conditions? Music? Etc…
AZ: Ideal would be early. I like to start working in the morning. Even better would it be having a full digital lab at home, which could save me some time and a few journeys to get things done. Besides that, I usually work on a few pieces at the same time. I usually start spending a bit of time researching the image or a space. When working on actual piece, first stage is mostly manual and takes a bit of practice. Next it evolves and gets slower. I take them home, look, change things till they are right. So to summarize ideal will be work early and so no need to rush things; sometimes with music, always with internet.

What excites you at the moment?

AZ: Summer:)

2011-07-05T11:21:00.000-07:00

STEPHANIE RICHARDSON - MINI INTERVIEW

Tell us a little bit about yourself and artistic background…

SR: I grew up in Doncaster, South Yorkshire which isn’t exactly the sort of town that fosters artistic activity. At school I enjoyed drawing and painting but also writing and being embroiled in creative thought. After leaving school I began studying fine art at the local art college and then moved to Edinburgh where I studied a BA in Painting at Edinburgh College of Art.

How would you describe your artwork to someone?

SR: My practice is framed by the engineering of curious or uneasy new evolutions of beings and events through simple interventions and incisions into found imagery in which the indexical root becomes disfigured and stained with blemishes. Fragments of annexed vintage photographs are isolated, mirrored or erased entirely in order to compose a series of despoiled tableaux.

Sculpture, drawing and collage are interlaced with childlike imagery in order to compose anxious geographies, at once inviting and alienating. My current practice is engaged with the construction of objects that have the air of esoteric props, forms that resist classification into a register of functional domestic articles. I am captivated by forms that exude the tantalising prospect of movement, and objects that appear to will you to set them into undulating motion in tentative and intimate choreographies.

Can you discuss some of your influences and inspirations?

SR: I am influenced by encountered stories, arcane histories and archival accounts which kindle alluring correspondences. I’m also fascinated by recurring themes of ventriloquism, symmetry and symbiotic engagements between creatures; both morphological and fictional.

Aesthetically I am influenced by the imagery of silent film, childhood objects and vintage equestrian equipment.

What do you regard as your most ideal working conditions? Music? Etc…

SR: My ideal work space would be fairly intimate and clandestine but with lots of light. I like to be surrounded by found treasures and fragments: so there should be books, old photographs, magazine cuttings and the walls should be covered in pin-ups and vintage ephemera. There should also be music, or spoken radio programmes.

What excites you at the moment?

SR: I’m excited by imagery drawn from science fiction and natural history.

Photographic manipulation and collage is what I’m into at the moment. In particular the tension between nostalgic or poetic source materials and graphic digital interventions.

I’m also excited by writing at the moment and having more time to do it.

2011-07-04T16:57:00.000-07:00

KEIR McDOWALL - MINI INTERVIEW

Tell us a little bit about yourself and artistic background…

KMD: My name is Keir McDowall and I’m a young Scottish photographer. My dad worked as a photographer and I always remember him having a camera in hand growing up. I started photographing my friends skating when I was about 14. I left school at 16 with no idea what to do so I went to college to study A level photography. After that I applied for Edinburgh Napier University to do their BA (Hons) Photography and Film course, which I have just completed.

How would you describe your artwork to someone?

KMD: Self reflective, lots of trees, polaroid, soft focus.

It is what it is. I try to make work according to what ever I’ve been reading up on at the time but lately I feel that my work is taking a new direction driven by spending less time worrying about what to shoot and just shooting for the sake of it.

Can you discuss some of your influences and inspirations?

KMD: The internet is a wonderful place and I find most of my influences there. I used to use flickr all the time but I became really bored with it. There are some amazing photographers on there though. Currently I am enjoying the work of Jacob Lillis, Emily Grundon, Guy Bourdin (a personal favourite), Sophie Davidson, Nadav Kander and the work by my fellow university peers.

I collect zines, which are good for finding out about new photographers, as they tend to be cheaper than table books. Music has always inspired me but I think that’s the case for most artists. I was brought up to follow my own path, which I think is a really important trait to have when working in the creative industries. I never felt that I had to become a 9-5 office type.

My biggest inspiration has always been the need to work harder and become better. I’ve had hard times with my work but I have always found that working through it will always give results.

What do you regard as your most ideal working conditions? Music? Etc…

KMD: Quiet tends to work best for me. I enjoy working alone although it can drag a little. Music is always good to have as background noise, but it has to be low enough so that I am concentrating on my work rather than what’s playing. I like working outdoors, I spent a lot of time running around forests as a kid and these spaces are very homely for me. Generally as long as I feel comfortable in what I’m doing I can work anywhere.

What excites you at the moment?

KMD: There’s a huge load of things that I’m excited by at the moment but here’s a shorter list:

· The prospect of new love.

· Being free from the constraints of University, no matter how scary it seemed at first.

· Working on a new body of work.

· Exhibiting.

· Meeting photographers who I have admired for years on a recent trip to London.

· Good coffee.

· Shooting for fun again.

· Opportunities like Hunted Projects!

2011-07-04T16:50:00.000-07:00

LAURA GILL - MINI INTERVIEW

Tell us a little bit about yourself and artistic background…

LG: Edinburgh born and based artist, recently graduated from Edinburgh University with MA (Hons) Fine Art.

How would you describe your artwork to someone?

LG: My work explores whether or not the repetitious shapes and patterns made by the moving figure are reflective of the continuing patterns of people’s lives. By simplifying the figure so that it is neither male nor female, nor of a specific time, place nor race, the body becomes a microcosm of continually changing rhythmic forms. My paintings and photographs allow the viewer to consider the timeless quality of the movement of the human figure.

Can you discuss some of your influences and inspirations?

LG: My interest in music, theatre, performance and dance, and the feelings experienced through the use of light, repetition, shape and movement have been the driving force behind my study of the human figure. Some of the artistic influences which have inspired me are Celtic Art, Futurism, Cubism, The Glasgow Boys and John Duncan Fergusson.

What do you regard as your most ideal working conditions? Music? Surroundings? Etc…

LG: I like to have plenty of space when I am creating large paintings. I prefer to be surrounded by dynamic images and I enjoy listening to lively, exciting music.

What excites you at the moment?

LG: I am currently experimenting with new ways to create my photographs using light and I am looking forward to seeing a couple of exhibitions in London - Degas Dancers: Eye and Camera and A Flash of Light: The Dance Photography of Chris Nash.

2011-07-04T16:36:00.000-07:00

JOHN BRYDEN - MINI INTERVIEW

Tell us a little bit about yourself and artistic background…

JB: I am 26, I have brown hair, brown eyes and I studied Film and Photography at Napier University. I am starting to enjoy the challenges of exhibiting.

How would you describe your artwork to someone?

JB: With good views, fairly priced, unfurnished.

Can you discuss some of your influences and inspirations?

JB: It's hard to pin down how exactly, x influences y. I can tell you some artists I like...Doug Aitken, Nadav Kander, Bas Princen, Andrea Galvani. I like watching people a lot of the time.

What do you regard as your most ideal working conditions? Music? Etc…

JB: Working on my own, or relatively unnoticed as I only have to try please myself and not myself among others.

What excites you at the moment?

JB: Same as always, the moments when new ideas comes to life, that's when things are at the their most raw and untouched.

2011-07-04T16:31:00.000-07:00

2011-07-04T14:53:00.000-07:00

2011-07-04T14:32:00.000-07:00

2011-07-04T13:09:00.000-07:00

2011-06-07T13:50:00.000-07:00

2011-06-07T13:42:00.000-07:00

A One-Night Affair Between You, Everybody and Me

Thursday 9. June, 8pm – 1am

Hawke and Hunter,

12 Picardy Place,

Edinburgh, EH1 3JT

Featuring Work By:

Alex Allan

Liam Allan

Zac Braun (New York)

John Bryden

Fraser Gray

Kevin Harman

Calum McClure

Scott McGuigan

Ashley Nieuwenhuizen

Pete Skibinski

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HUNTED PROJECTS is proud to announce A One-Night Affair Between You, Everybody and Me, a one night only group exhibition that will explore the blurring of boundaries between the artist and spectator.

Through discarding traditional notions of gallery etiquette, artists and spectators present will be encouraged to visually respond to the evening’s affair through the collective creation of two additional canvas works. The initially blank canvases will be hung alongside exhibiting artist’s work giving all present the opportunity to draw, etch, inscribe and paint a collective response to the happening of a one-night only exhibition.
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HUNTED PROJECTS is a progressive exhibitions platform established in February 2011 to showcase artists of both national and international level. The aim of HUNTED PROJECTS is to exhibit and support the art-works of both established and up-and-coming artists through an array of diversely curated exhibitions. With a focus on utilizing alternative spaces that subvert the traditional white cube, A One-Night Affair Between You, Everybody and Me, will be held within Hawke and Hunter’s Whiskey Rooms. The unique three-roomed space boasting wooden floors and fabricated wooden panel walls recall a bespoke and exclusive members only clubhouse. The exhibition of works will therefore present to the viewer a rare opportunity to experience such works within an environment that was not necessarily designed for art exhibitions, though gives both artists and spectators an exclusive opportunity to present and view art-works within a characteristically distinctive space.

For additional information and photographic material please contact huntedprojects@mail.com.

Upcoming exhibitions: Charlie Anderson: Unknow, opening Thursday 16^th June, 6pm – 9pm, Old Ambulance Depot, 77 Brunswick Street, Edinburgh, on view through 26^th June 2011.

2011-06-07T13:39:00.000-07:00

Charlie Anderson

Untitled

Poster Paint, Emulsion and Varnish on paper

64 cm x 90 cm

2011

Charlie Anderson

Untitled

Poster Paint, Emulsion and Varnish on paper

64 cm x 90 cm

2011

Robbie Penford Baker

Influx

60 cm x 60 cm

Digital Print

2011

2011-06-07T13:32:00.000-07:00

Gillian Carey

Untitled

Digital Print

2010

Gillian Carey

Untitled

Digital Print

2010

Liz West

Blue Trolley

C-Type Print

70 cm x 50 cm

2009

2011-06-07T13:25:00.000-07:00

Thomas Aitchison

Out Clubbing

Oil on Canvas with Wire Assemblage

76 cm x 86 cm

2010

Darren Nisbet

Wet Dreams

Mixed Media on Board

100 cm x 100 cm x 100 cm

2011

Alex Maciver

Dirty Little Bitch

Collage

21 cm x 29 cm

2009

2011-06-07T13:21:00.000-07:00

Ruaridh Crighton

Nora

Digital Print

80 cm x 60 cm

2010

2011-06-07T13:17:00.000-07:00

2011-06-07T13:13:00.000-07:00

Christopher Fernandez

Untitled

Digital Print

40 cm x 30 cm

2011

2011-06-07T13:00:00.001-07:00

Dino Forte

NY Kat I

Medium Format Polaroid Print

2010

Dino Forte

NY Kat II

Medium Format Polaroid Print

2010

Dino Forte

NY Kat III

Medium Format Polaroid Print

2010

Dino Forte

NY Kat IV

Medium Format Polaroid Print

2010

2011-06-07T12:56:00.000-07:00

Dino Forte

Tennis Club I

Medium Format Polaroid Print

2010

Dino Forte

Tennis Club II

Medium Format Polaroid Print

2010

Dino Forte

Tennis Club III

Medium Format Polaroid Print

2010

Dino Forte

Tennis Club IV

Medium Format Polaroid Print

2010

2011-06-07T12:49:00.000-07:00

Dino Forte

Safe Inside I

Medium Format Polaroid Print

2010

Dino Forte

Safe Inside II

Medium Format Polaroid Print

2010

Dino Forte

Safe Inside III

Medium Format Polaroid Print

2010

2011-06-07T12:34:00.001-07:00

Dino Forte

One Man Flat I

Medium Format Polaroid Print

2010

Dino Forte

One Man Flat II

Medium Format Polaroid Print

2010

Dino Forte

One Man Flat III

Medium Format Polaroid Print

2010

Dino Forte

One Man Flat IV

Medium Format Polaroid Print

2010

2011-04-25T12:31:00.000-07:00

Ruaridh Crighton

Untitled

Digital Print

2010

Ruaridh Crighton

Reflection

Digital Print

2010

2011-04-25T11:57:00.000-07:00

Christina Kernohan

Badam

Giclee Print

13 inches x 18 inches

2011

Christina Kernohan

Tales of The Hidden People I

Giclee Print

15 inches x 10 inches

2011

Christina Kernohan

Tales of The Hidden People II

Digital Print

15 inches x 10 inches

2011

John Kane

Restoration

Digital Print

30 cm x 40cm

2011

2011-04-25T11:30:00.000-07:00

Chris Park

Jim Carruth

Digital C-Type Print

63 cm x 95 cm

2010

Chris Park

Brian Johnstone

Digital C-Type Print

63 cm x 95 cm

2010

Jenny Forrest

me, ma, men

Digital Print

2009

Daena Lorne

There Is Always Somewhere Else We Would Like to To Be

Digital Print

70 cm x 50 cm

2011

2011-04-18T05:18:00.001-07:00

2011-04-11T14:35:00.000-07:00

HUNTED PROJECTS: Tableaux Vivants

Bond No.9

Commercial Street,

Edinburgh

Preview Opening: Thursday 21st April 8pm

22nd April - 13th May

HUNTED PROJECTS is delighted to announce that the next exhibition, Tableaux Vivants, will explore notions of the 'living picture' within contemporary photography and moving image.

Co-Curated by Steven Cox & Ruaridh Crighton

*Exhibiting Artists*

-Christopher Fernandez

-Chris Park - www.chrisparkphotography.com

-Christina Kernohan - www.christinakernohan.com

-Daena Lorne

-Dino Forte

-Daniel Hill - http://athousandquid.blogspot.com

-Jenny Forrest

-John Kane

-Ruaridh Crighton

DJ set by Cheap-Picasso - http://soundcloud.com/cheap-picasso