Lindsay Hunt

Lindsay Hunt is a contemporary Australian artist, trained in his home city of Sydney and in London at the Royal College of Art. He has resided in the Lismore region for the past several years.

Lindsay produces his work in a number of media including oil, acrylic, ink, pastel, charcoal and pencil, as well as using a number of print techniques including woodcut and drypoint etching. The content of Lindsayʼs work is varied with themes drawn from his personal experience and perceptions of the world - and often strongly expressed in work that is satirical and darkly poetic.

Lindsay has taught extensively in the disciplines of Art and Design at a number of Australian tertiary institutions and has exhibited extensively in well-known galleries in Sydney, regional NSW, Brisbane and Melbourne, starting in 1990. His work is held in private and corporate collections in Australia and private collections in London.

“And always the same... Levering massive yellow bulldozers into the abyss... An unruly misbehaving Komatsu ... This making Art….”, Lindsay Hunt.

Lindsay is one of the gallery's major artists, with a large body of work. His catalogue has been divided over two pages into "Small Works" and "Other Works", reached by the links below.

Artist interview below - or view on YouTube.
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EXHIBITION NOTES - In Such Times do We Live

Lindsay has led a rich life that has seen both training in the visual arts and in architecture. His interests extend further however, with two threads that seem to dominate - ancient history, including written language, hieroglyphics and the cursive scripts of ancient civilisations and injustice in all of its forms from backyard bullies to the subjugation by those in power, not least, 'The Establishment'.

Lindsay's work broadly falls into two stylistically divergent areas which are influenced by his two dominant areas of interest. (The term "artistic style" is something that Lindsay would be loathe to use when discussing his work!) There are paintings reminiscent of ancient scripts with the seemingly deliberate marks of a scribe. There is something also playful in many of these works. There is often a mixture of transparency, pressure and media to daub the canvas or paper. The marks are composed and balanced over the surface with care, at all different scales, but there is an exploration here of the artist playing with his media to create whimsical cursive 'words' or heavy accents in thick acrylic, gouache or oil that have an almost three-dimensional quality. Then there are the gentle ink or watercolour broad strokes that wash over other marks and provide ballast or reprieve in a busy composition.

There is both whimsy and intention in these works. There is delicate nuance plus an expression that seems derived from a choreographed movement of paintbrush to media - the making of marks from the hand of both a painter and a calligrapher.

As with all works of abstraction, these works may be perceived in a number of ways, but we can't help seeing them - at least in part - as a manifesto of some sort of lost alien language, comprising script and pictogram, in some cases. It's as if Lindsay somehow channeled a distant, ancient speaker, organising their language in his own way - as an artist - as it was dictated.

Lindsay's 'other' work conveys a very different approach. This body of work uses a variety of methods in its production including drawing, painting, printmaking and, in "The Green Demon" (his collaborative piece with Bill Klease), leadlight and stained glass. The content of these works relate to oppressive forces by the powerful and the injustices perpetrated by the same. There is often an acerbic wit and satire conveyed in these works - the over-stuffed self-importance on show in "The Critics", the well-attired "Toxic Fly of Greed" and the over-inflated and ravenous rat in "Exponential Banking Profits". Then there are the victims - portrayed as sometimes meek, but always with a measure of fear or terror, as in "The Shriek", "Terrorflight" and "In Such TImes Do We Live". There is also the more poignant - tuned with a good measure of humour - as with the victim of loneliness in a modern world in "Sad Fat Robot Seeks Amore".

In this work, Lindsay rarely treats his subjects gently - although the blow is often softened somewhat by humour or satire - plus the meticulous way that each work is rendered. Lindsay certainly makes a stand though and takes few prisoners in the process! It's interesting that his subject matter doesn't take on the more obvious instigators of oppression like dictators, warlords and even war-mongering political entities. The Establishment and institutions like the monarchy, corporations and bankers are more in Lindsay's sights and have been so, way before there were GFCs and the Occupy Movement.

This work may be a way of communicating his fears for western society. It may be a wake-up call. It could certainly be seen as protest against a largely invisible, yet insidious, form of oppression. Then again, it may be about the artist expunging his own frustrations with an unfair world and his personal experiences with it. As confrontational as some of the work may be, there is potential for it to resonate in some way with any viewer if they care to think about it.