Exhibition History

SOLO EXHIBITIONS

2018 Stormfront  Milford Galleries Queenstown

2013 The Longest Road  Milford Galleries Queenstown 

2011 The Backlands  Milford Galleries Dunedin

2010 Centra Milford Galleries Queenstown

2009 Flight  Milford Galleries Dunedin, Auckland

          New Works  MG, Auckland

2008 Summit Fever  Milford Galleries Dunedin

2007 The Ochre Triangle II  Milford galleries Queenstown 

           The Ochre Triangle  Milford Galleries Dunedin

            New Work  The Art House, Christchurch 

2006 Trail of Dreams  Ferner Gallery, Auckland

           Art House, Christchurch

2005 Beneath the Surface  Ferner Gallery, Wellington

2004 Brown Velvet  Ferner Gallery, WellingtonLands End, Ferner Gallery, Auckland

2003 Into Shadow  Ferner Gallery, Wellington

          A Reflection of Time  Ferner Gallery, Auckland 

2002 Valleys of the Lindis  Ferner Gallery, Wellington

           New Work  Ferner Gallery, Auckland

2001 The Distant Landscape  Ferner Gallery, Wellington 

2000 Face of the Land  Ferner Gallery, Wellington

          Road to Erewhon  Ferner Gallery, Auckland 

1999 Suter Society Guest Artist, Suter Gallery, Nelson

         Edge of the World  Ferner Gallery, Auckland 

1998 Ferner Gallery, Auckland

         Ferner Gallery, Wellington

1997 45 Degrees South  Ferner Gallery, Wellington

1988 North  Molesworth Gallery, Wellington 

1986 Molesworth Gallery, Wellington

1984 Moray Gallery, Dunedin

1983 Molesworth Gallery, Wellington

SELECTED GROUP EXHIBITIONS

2016 The Review, Milford Galleries Queenstown

2014/15 Summer Show, Milford Galleries Dunedin

          The Earl St Journal, Milford Galleries Queenstown

2014 The Review, Milford Galleries Queenstown

2013/14 Summer Show, Milford Galleries Queenstown

          The Earl St Journal, Milford Galleries Queenstown

          The Review, Milford Galleries Dunedin

          New Works, Milford Galleries Dunedin

          The Royal Queenstown Easter Show

2012 Hight/Frazer/Hunt, Milford Galleries, Queenstown 

         Chosen, Milford Galleries, Queenstown 

         Naturally Urbane, Artis Gallery, Auckland

2011 The New Field, Dark Horse Experiment, Melbourne Australia

2010 The Earl Street Journal, Milford galleries Queenstown

2009 Southern Traverse, Milford galleries Queenstown

          Southern Landscape, Milford galleries Queenstown

2008 Richard Dunlop, Bruce Hunt & Hannah Kidd, Milford galleries Auckland

          Summer Show, Milford Galleries Dunedin

          Selected Works, Milford galleries Queenstown 

2007 Masterworks 2007, Milford galleries Queenstown

          Looking South, Milford Galleries Dunedin

          Two Artists; Paintings of Central Otago. Bruce Hunt & David Barker, Business Advisory Group, Auckland

2006 Summer Show, Milford Galleries DunedinLocation South, Milford galleries Queenstown

2005 Southern Landscape, Milford Galleries Dunedin 

1996 Coutts Mercedes, Auckland

1985 NZ Academy of Fine Arts Group Show, Wellington 


Bruce Hunt: A Communion with the Land

From a distance I see a man striding along a steep ridge against an early morning sky. Another day I see him stepping between rock outcrops on the bay shoreline, always alone for he is not simply being athletic, he is traversing the physical landscape of his paintings.

Bruce Hunt, probably unknowingly, paces the difficult contours of landforms he will paint, even of other places, as though visual information is reinforced and stored through his feet and lungs. This communion with the land empowers him with a perception that is essential to his way of working indoors, as a studio painter.

If as painters we do not pursue a particular and deeper understanding of the content of our work then we become mere copyists. Bruce’s almost duo-chromatic landscapes of recent times are bare, still, almost without human mark. They are vast spaces into which those of us, who are unafraid, can glide on our own private flights. Effortlessly too since Bruce has done all the climbing.

The portraits and figure studies too rest in broad, often undefined background fields, suggesting the subject’s general aura be generously considered and given room to expand to fill the frame.

Bruce Hunt arranges his compositional viewpoints in layers of acrylic pigment with a quiet and neat virtuosity. I would imagine he paints in a state of quiet deliberation, content with a strategy of returning often to a place previously visited in memory and method.

As a fellow artist I admire the seriousness with which Bruce Hunt takes his work, place, and career. He beguiles us, devoid of cynicism or pretence, seemingly with only one distraction in his life, the lovely Fabia.

David Barker, 2004 

Using Format