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The Paintings
Critical Appraisal
His work starts from his own visual or intuitive response to experience, and develops into the creation of a new independent painterly equivalence. Chance and  surprising accidents accompany this development, taking the determination of the result momentarily out of his hands as Hunter includes this potential in the  process. There is not so much a narrative in his work, as a sense of  being in a place, whether inside or out.  And the experience is of a fragile moment of being  there.”  Jo Saurin, artist and writer, for the catalogue text to ‘Places’ exhibition at The Slade Centre, Gillingham, October 2015.  “Modernism allows Hunter to look at the landscape or built environment and depict it fairly and with conviction without the need to consider the objective reality in  front of him. Place is important, but only when it is combined with the ability to place an abstract configuration of shapes and speedy marks on the paper, for  their own sake.”  Professor Simon Olding.  “His exhibition of his works on paper was an eye-opener and blew me away with his instinctive grasp of the best of English landscape painting from Turner to  Terry Frost, and his deep knowledge of the inner workings of the activity (of painting) was on display.”  Frank Bowling OBE RA. “This is a man who talks through his handling of paint about his love of visual imagery and his regard for the history and diversity of painting. These are works  that need more than a cursory glance or the visual poetry will be lost and you will have missed an opportunity to enrich your perspective through the eyes of a  unique artist. Jim Hunter extends his chosen subjects dynamically and fully, leaving the work open to interpretation, it is not always necessary to know the  personal language of the artist but simply to enjoy a sensual experience for the eyes. The work imposes on your imagination to leave you wishing to see and  experience more painting of this depth and enjoyment.”  Brian Bishop, artist.