Paul Hunter

Musée du Québec

Paul Hunter’s vision bears the indelible yet ephemeral stamp of an urban explorer. Hunter assembles slices of life, Lilliputian atelier interiors, dormant parking lots, and night views of Manhattan in narrow, wooden boxes that we look into through viewing holes. Like photography in reverse, Hunter’s “pièges a lumière” (light traps) transform the effects of light back into three dimensions.

In “Homeless,” 1986, groupings of white plastic figures have been arranged as in a maquette for a theatre set. In a second section additional figures are shown moving along a series of empty passageways at varied perspectival distances. The scale of these pieces is so exacting that they seem instantly accessible, but the reductive, unsettling feeling they transmit bespeaks alienation.

The “Petrefacta” series, 1987, consists of four ceramic and wood pieces spotlit from above and displayed in glass museum

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