This time our look back into the archive isn’t going as far back as previously but today marks the turn of an artist best known for his sculptural work but someone who has printed with us on three occasions, Edinburgh based Kenny Hunter.

From ‘A Shout In The Street’ book by Neil Mulholland, 2009

A Shout In The Street by Kenny Hunter (Screenprint, 2006)


All Cats Are Grey At Night by Kenny Hunter (Screenprint, 2008)


From ‘A Shout In The Street’ book by Neil Mulholland, 2009


Get Drunk Stand Naked by Kenny Hunter (Screenprint, 2006)


More Light More Shadows by Kenny Hunter (Screenprint, 2008)


Kenny Hunter – proofing 2011

Then The Animals Said God by Kenny Hunter (Screenprint, 2011)

Hunter has created a number of high profile, commissioned works in Scotland including; Youth with Split Apple for Kings College, Aberdeen, Citizen Firefighter outside Glasgow Central Station and Man Walks Among Us for Glasgow Museums. He is represented in several public collections in the UK, including Aberdeen Art Gallery, the Gallery of Modern Art, Glasgow and the Scottish National Portrait Gallery.

Kenny Hunter in an interview with Susannah Thompson, from his 2008 book ‘A Shout In The Street’ explains these typographic works.
“With regular urban signs the meaning of the message is reinforced by the minimalist quality of the letters and the space around them. By breaking up the words and tightly composing the letters into a rectangle, these works shift between the readable and the abstract as we look at them. So I guess they retain something, which is familiar to the city dweller, but they have, as you say, dissolved somewhat into pattern. Alternatively, they address the conditions we live in, not the world of things.

By stacking and compressing the letters together within the composition I hoped to suggest city centre architecture and how it feels to be surrounded by it. This was more acute in the bas-reliefs you mentioned but I think the prints carry that in them too – they borrow from the pallet of road signs, red, black, white, green and blue. I certainly worked with a reductive approach for these works, which probably helped to suggest a modernist sensibility.”

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