Local Artist Spotlight: Justin Hunt

by Laura Seewoester

Justin Hunt is an artist living and working in McKinney that doesn't paint the typical globs of oil on canvas. He specializes in an old technique called reverse glass painting. He paints on old windows (yes, in "reverse") in acrylics and creates unique images that show no sign of brush strokes, which people tend to find different and appealing. He originally worked with Carrie Garner Galleria d'Arte up in McKinney until they closed that location, and he has now moved with them to their new place, Cameron Gallery, off Dragon Street. Hunt is also represented by Artisan's Collective in the Bishop Arts District. We sat down for a quick Q&A with Hunt in anticipation of his upcoming show "Voyeuristic Tones," which opens this Saturday during the DADA Spring Gallery Walk.

Pegasus News: When did you begin creating art?

Justin Hunt: I've painted and sketched my whole life. I started working professionally as an artist about two years ago. I had my first show in June of 2006.

PN: So you've always painted and sketched as a child?

JH: Yeah. I'd always draw from the time i was four or five any time I went somewhere my parents would give me paper and a pencil. So I started out drawing and started painting probably in high school. I started off on canvas and wood and then I started about 5 years ago painting on glass, doing reverse paintings on glass which is what I do now.

PN: What drew you to painting on glass?

JH: My parents are antique dealers and one day I was at their house and I saw an old window and I thought “It's already framed” because every time I go to get a piece framed it costs $350. So it's mainly just being cheap. It's already framed and I figured if I painted on the other side of the glass I can clean it with Windex and it also has a unique look to it. So it's basically laziness and cheapness.

PN: What kind of paint do you use?

JH: Acryllic

PN: And what is the process? You call it reverse glass painting. Is that an old technique or is it something you made up?

JH: No, it's an old technique. They've been doing it since the 1600's. It's not used a lot now. Basically what it is, everything you paint you have to paint as a mirror image on the other side and rather than doing it more traditionally where you paint back to front, on glass you have to do it from the front to the back. The whole process is just kind of backwards.

PN: How is painting on glass different than canvas?

JH: You have to use a lot of paint in order to get it to be opaque. When it's done and you do it successfully the way that you want, brush strokes don't show. It almost looks like it's plastic when it's finished and it's on the glass, but the texture is a lot different and in order to get it to be opaque you really have to load it up with a whole lot of paint in order for it to come out the way that you want it, to where light doesn't shine through.

PN: Have you tried anything where the light does shine through? Does that ruin it or does it look cool?

JH: I've done some stuff where I'll create like a stencil and use spray paints. When you use spray paints then you can put a light behind it because then you don't have brush strokes showing and you have to use a lot of spray paint and really load it up. But when that happens it almost has a stained glass effect to it.

PN: A lot of your paintings are of the human form. What about the human form inspires you as opposed to painting nature?

JH: I really connect with people and I like to try to tell a story in what I paint and I think that everybody has a story to tell and I try to convey that, either with the eyes or the body language. I just like the feeling of when I look at a human figure I like to think “What got them to that place, then?” And I kinda make up a story, either a past story or a future story what their doing afterwards or what they just got through doing. I think when I look at a painting I like to see the history of it and the history of who I'm looking at. And I like the idea that it depends on who is looking at it, the story's different, what they see and how they interpret it.

PN: You said you make up a story. Is that based on the actual person that you're painting or do you just create it?

JH: No, it's mainly when I see an image, most of what I paint from is photographs, and when I see an image that I really relate to I think most of my talent lies in just being able to find images the speak to you. So when I find an image that really speaks to me and I think is unique and I'm inspired by it I try to convey my inspiration from looking at it on the painting. Rather than just painting someone sitting down somewhere I try to find unique images. A lot has to do with the eyes, and a lot has to do with body language and when I see that it almost expresses a feeling of who this person is just by looking at them.

PN: You also do some celebrities. What's the draw to the celebrities? Is it an image that you see?

JH: Well a lot of it is, I love music. I love old jazz, I love classic rock and I love old country and I think. When I do an image of jazz and things like that I try to convey how the music makes me feel. I also use antique window frames, so whenever I try to do an artist I try to do an artist from an old era. A lot of the jazz musicians that I like are Charlie Parker and Charles Mingus and Thelonius Monk and they were primarily popular in the 30's and 40's, so it kind of ties in with the theme of the antique window frame. But also I just really love the music. I paint what I like and they inspire me and I listen to them a lot when I paint anything.

PN: Tell me a little bit about your upcoming show.

JH: It's called “Voyeuristic Tones” and I worked with the gallery when they used to be in McKinney and they closed in McKinney and finally opened up here on Dragon Street. I'm going to be the featured artist, I'm going to have about 15-17 pieces. I'm mainly going to feature figures, a lot of nudes, but that's also where the voyeurism comes in where you know you have these antique windows, it's almost like you're peeking in a window at somebody. The “Tones” part is there's going to be a lot of music, because I'm inspired a lot by music, there's going to be a lot of music tie-in to it also. Like a lot of nudes on pianos or I'm going to have a few Beatles pieces and the Rolling Stones. So it kind of ties into the voyeurism, using the window where you're kind of peeking in at something and the “Tones” is the tie-in to the music.

PN: Do you have a day job?

JH: No.

PN: Do you work with any other media or do you stick with the glass at this point?

JH: I primarily do glass but I paint on canvas, wood, and then also old ceiling tins, antique ceiling tins. They're square tiles, old ceiling tiles, and they're made of tin. But primarily glass now since that's what's selling and that seems to be what people are interested in, and I really enjoy painting on glass so that's primarily what I work on. Just because I think it's unique. I think it forces the viewer to look at the person as a person. It also has a unique look to it and I think it makes people look at things a little bit more differently than what you would see as a standard canvas painting.

PN: If you could bring back anyone from the dead and fight them to the death, who would it be?

JH: Jean-Michel Basquiat. I love his work and I'd probably fight him to the death because I'm jealous of his work. So I'd want to pick his brain to find out how it works and then I'd kill him afterwards.

PN: When a vending machine steals your money how do you react?

JH: I bottle it up. I get angry inside and walk away.

PN: Is there anything else you'd like to add about your work or your show?

JH: No, just the show is 2-8 and there's going to be free wine and a band, so come by and check it out.