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Rachel Morton, "Just Paint: The Art and Life of Carol Hunt" (PDF), Regis Today: The Magazine of Regis College, Spring/Summer 2010.
Her canvases are bold. Some are colorful, others
austere, but all have a power, an aggressive conviction
and confidence. Hunt is mild mannered, selfeffacing
with an easy laugh and a relaxed manner.
Without a paintbrush in her hand, she seems almost
out of place in the context of these large, bold,
explosive canvases. But the art bears witness to the
dynamism and ambition of this determined woman.
Helen Harrison, director of the Pollock-Krasner
House and former New York Times art critic, has
curated several shows that have included Hunt’s
work. She describes Hunt’s paintings as “spontaneous
but built on a very firm structure, so even though it looks very loose and free, it is very coherent.”
Abstract expressionists like to work big, and Hunt is no exception. Her studio has a 16-foot ceiling to accommodate her large canvases and 12-foot woven
wall hangings. And it also has distinct and spacious
work areas for drawing, printmaking (she has an
etching press), weaving (she uses a Saori Japanese
loom), and computer graphics—all art forms in
which Hunt regularly works. But it’s the big paintings that dominate the room, and for which Hunt is
so well known.