Gemma N. A. Hunt

www.gemmanahunt.com

my parent’s sink, all the way upstairs (detail)

tree sap, steel
2018

the stairs up to the top floor

tree sap, steel
2018

slingshot, marbles, and half of a squirrel

ceramic, rubber bands, marbles from my grandpa, plastic
2019

racoon trap (installation view)

epoxy resin, ceramic, plaster
2019

I love you mom (i,iii) (installation view)

silicone, bubble gum
2019

potato cup!

ceramic
2019

feedback (February 19 2018-December 30 2018)

durational performance and white brass
2018

Artist Statement

I’ve been looking through distance, in an attempt to make tangible this space in between there as seen from here. Distance is a space that can not be entered, only occupied. I want to find out what lives inside of it so as to preserve it as material. This distance lies in the act of looking at something and realizing it isn’t the same as it used to be, and in that same moment not being able to recognize what exactly it was before, creating this in between that this thing is both in and around, sort of in limbo. I am looking at home space as a location where time exists in spans and the garden as a utopic location where the absurd and magical can occur, and it is real. My research has shifted between methods of preservation and idealism and utopia that can be exemplified in myths and narratives that take place in the garden. This overlap between the site of home and garden, and myth and actual, lies in being sites of both creation and destruction, preservation and decay, things not lasting forever but a very long time and things existing only for a moment, going in and out of peripheral vision. As something that lies somewhere within and in between the memory and the imaginary. I want to know how certain things wiggled falsely into my memory and conception of my home. By use of certain ephemera that has existed in my backyard or in my home at one point or another, I am trying to look directly at this idealistic location, as it exists outside of tangible space, working to both construct and reconstruct an existence that occupies this accumulative and immaterial space of distance. A sort of material proof and temporary preservation that something existed. With the use of materials that inherently move and change, existing not as static, and subject matter that is more grounded, having weight within the real. I am working with things I know and things I believe, and where mythologies have nestled their way into my continuing conceptualization of this space that continues to exist and is something both unknowable and something I know intimately. I am working to create a space that both never existed and has always existed, an idea of a space that is just as solid as it is fragile. And with that, my work exists as an unavoidable and inherent failure.