24th February – 31st July 2007
Anna Schwartz Gallery
Robert Hunter, like certain other Minimalists… was attracted by serialised modular systems, which involve methodical repetition. Such systems create a succession of components in an art work, each linked directly to the one that has gone before, generating a structure that seems to be determined primarily by logic, rather than through aesthetic decision. Seriality of this kind is found in many traditional art forms: in music, in the fugues of J. S. Bach, with their complex repetitions; in poetry, in such verse forms as the crown (where the first line of each stanza repeats the last line of the stanza immediately before it) and the villanelle (where identical lines are repeated with varying effect in varying stanzaic positions). Hunter discovered the serial components for his own work in the linear grids and square modules which formed part of the vocabulary of Minimal art, though his adoption of these patterns may have been as much instinctual as conscious. I cannot think of anything in particular that led me to grids and modules, he has said, I knew nothing much at the time, and it seemed to me that this was a good starting point; a nothing point.
- from Grazia Gunn, A nothing point: The paintings of Robert Hunter, Anna Schwartz Gallery, 2007