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Emily Hunt

in conversation with Pádraic E. Moore

:

17/11/2022 –
– 30/11

How do irrational and mystical beliefs relate to the creative act? And is it dangerous to put art out into the world that addresses the occult? During her residency period at 1646, Emily explored the archetype of the naked ageing female body, or the ‘crone’ (an old and supposedly ugly woman), in 16th and 17th century print-making, which was often portrayed as diabolical and witch-like.

Besides using more traditional techniques in her artistic research, like acid-bath etching and using the printing press, Emily also focused on another area of her research, entailing the mystical and the mysterious. With digital printing combined with her own watercolour drawings, Emily will create a Ouija board, which allows her to explore the ‘ideomotor effect’: an unconscious and involuntary physical movement, unlocking subconscious knowledge as a channel to create art.

Through his literary, curatorial and art historical practice, Pádraic E. Moore often examines how contemporary culture has embraced aesthetics and ideals informed by esoteric traditions. Pádraic chronicles the work of artists who refer to or follow these traditions.

Info

About Emily Hunt: Emily is an interdisciplinary artist, born in Australia, but living and working in Berlin from 2017 on. Her practice spans many mediums, including etching, ceramics, silk painting and monotypes. With a background as a rare-book dealer, Emily has an encyclopaedic approach to her art making – with influences from the history of ornament, visionary art and scholarly magic texts. Her work primarily focuses around depictions of older women throughout history, and her practice acts as a form of redemption to the marginalised older woman figure. An interest in magic and spirituality underpins much of Emily’s work, where depictions of female witches during the German Renaissance and the spirit-board as a method of communication exemplify Emily’s scholarly background with a mystical twist.    Emily has been running Big Ego Books with Raquel Caballero since 2015 and was the co-Editor of DUKE Magazine, an artist magazine focusing on Australian artists and thrift culture between 2005-2009. She was selected as a participant in the Goldrausch Künstlerinnen Projekt 2020. Recent solo exhibitions include Jobcenter Aufgelande Orte Psychic Places, Galerie Wedding (2021), The Machine Elves’ Shoes, Sonneundsolche, Düsseldorf (2021) and group exhibitions Existing Otherwise – The Future of Coexistence at Savannah Centre for Contemporary Art, Ghana (2022) and Aliens are Temporary at Kunstraum Kreuzberg, Berlin. Emily’s work has been exhibited at Hans Arp Museum (Rolandseck, DE), Museum of Contemporary Art (Sydney, AU) Zitadelle Spandau Museum (Berlin, DE) Sim Smith Gallery (London, GB) Te Uru Waitakere Contemporary Gallery (Auckland, NZ) and Monopol Galerie (Warsaw, PL).
About About Pádraic E. Moore: Pádraic is a writer, curator and art historian. He completed CuratorLab, the postgraduate programme at Konstfack University, Stockholm and is a former resident of the Jan van Eyck Academy, Maastricht. Pádraic is Curatorial Programme Mentor at De Appel, Amsterdam. Recent research has focused upon the influence that esoteric philosophies have had upon the literary and visual arts. Several of his projects explored how organisations such as the Theosophical Society offered a vital catalyst for change in late 19th and early 20th century art. Pádraic’s projects often examine how contemporary culture has embraced aesthetics and ideals informed by such esoteric traditions. Chronicling the work of artists who refer to or follow these traditions is also an integral aspect of his practice.

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