Stephen Hunt

All the painter’s pictures/ images are derived from places he has been to and things he has seen. These are reshaped and put together in what could be seen as self-designed jigsaw puzzles.

Though no-one can possibly have seen these ‘places’ as they appear in the pictures, the painter hopes that each viewer will identify with a particular picture, feel that this is his/her own secret place (not visited by anyone else) and will be able to choose the kind of scenery and the country from which the painting has evolved.

In this way the viewer is being as creative as the painter.

In all the pictures there is also an element of risk to the viewer. All of us have, at least once in our lives, seen someone or met someone and formed an instant mutual and possibly fatal attraction. If we are sensible we also are instantly aware that it would be dangerous to get any closer. Once seen and never forgotten – but just look, don’t touch!

These pictures are the same. All of them are (the painter hopes) magnetically attractive and seemingly available or open to exploration – but then, perhaps not. Much better to explore them in one’s imagination only. This is the age-old power of harsh landscapes that has always tempted travelers.

These ideas are looked at in different magnifications, as though we are putting different lenses to our eyes. Some are wide-angle and we see the whole area, some are closer to show a particular feature of the view, closer again to notice some strange remains of a past civilization, and closest of all, ourselves acting with or reacting to the landscape.

Since the painter particularly dislikes telling people how to think and since he finds that other people’s ideas about his pictures lead to even better pictures thereafter, he is happy for people to see whatever they want in his pictures. His part in the joint creation is finished and it’s up