Robert Hunter

When removed, the tapes reveal a crystalline structure of fine lines and variations in hue. Like images seen through a bleached-out kaleidoscope, each combination of lines and tones is different from the preceding one. Yet in Hunter’s case the series is progressive rather than cyclical: distinctive elements can be traced across the years. All his works are powered by the eye’s ability to distinguish infinitesimal variations in hue: perceived at first glance as merely white, on close inspection extremely subtle accents of pearly yellows, pinks, greys and even blues emerge from the grid of paint.¹