In looking back at a studio practice of many years, I recognize consistent themes. Nature. Looking closely. The insistence of order. Domestic life. Being human. The themes expand, recur and often overlap.
What has changed is the choice of materials to explore these themes. Beginning in textiles, I used coiled basketry forms, both singularly and as components in a larger context. Collages of paper, fabric and thread echoed the voice of the basketry in two-dimensional, framed form. Drawing, though always a part of what I was doing, became more and more important in telling a story and led me to working with clay, a material that receives marks beautifully. And now, I see drawing as my major means of expression, whether on paper, porcelain forms or basketry surfaces.
The themes persist. I still look closely at the world, treasure nature, attempt to make order. If being human is a story, it is one that I try to read and write every day.
Lissa Hunter’s work is in the collections of the Renwick Gallery of the Smithsonian Institution in Washington DC, the Museum of Fine Arts in Boston and the Museum of Art and Design in New York, among other museums and private collections. She received the Maine Arts Commission Individual Artist Fellowship in 1996 and was named a Master Craft Artist Fellow in 2009. Her work is included in Makers: A History of American Studio Craft by Janet Koplos and Bruce Metcalf, UNC Press, 2010 and is fully explored in Lissa Hunter Histories Real and Imagined by Abby Johnston, Upala Press, 2006. She has had a long relationship with Haystack Mountain School of Crafts in Deer Isle, Maine and was elected Life Trustee in 2017.