Corrine Hunt

Ts’akis (Alert Bay), B.C.

Corrine Hunt, Eagle Mask, 2018. Red cedar wood, abalone shell, aluminum and acrylic paint, 40.64 x 40.64 x 38.1 cm. COURTESY OF COASTAL PEOPLES FINE ARTS GALLERY.

Studio: How would you describe your approach to your medium? What made you choose it?

Corrine Hunt: I began work in 1984, beginning in jewellery because of my uncle [Norman Brotchie]. I was enthralled with it. I was a student studying anthropology at Simon Fraser University and working on a fishing boat but stopped both, devoting myself to jewellery. My mother was also a great collector. Starting out, accepting advice was the most important thing. Meeting Leona Latimer, taking her advice, was a turning point for me. It was so important, having someone be honest about what you need to sell your work, not just a ‘no’ or ‘not right now.’ I’ve been fortunate to have had many mentors in my career, and that’s really what you need.

I began with two-dimensional work, then panels and furniture, now I’m designing museum exhibits and curating. I really span the spectrum. And I’m not afraid to fail.

I travel a lot, and am always inspired by what I see. My mind is always working, part of it is sitting and observing, filtering and living with things. 

There was a time I fell in love with wood, I used found wood to carve and make work, then on to metal and manufacturing. And I’m always trying to tell a story: where and how Indigenous people live today. Fresh and new stories, respectful of tradition, but made by contemporary people. Stories informed by life. Stories are always new, but contact with settlers can stagnate them. What’s important to me is that kids be able to  tell stories of their lives guided by traditions.

I’m guided by stories that form around me. There needs to be some fun in what we do, and tradition alone can be stoic. I’m not attracted to old stories, but what happens today.

Corrine Hunt, Laman lax Yalis (We are going to Alert Bay), 2021. Reclaimed red cedar wood, reclaimed yellow cedar wood, acrylic paint, sterling silver and mother of pearl 45.72 x 25.4 x 26.67 cm. COURTESY OF COASTAL PEOPLES FINE ARTS GALLERY.

S: How would you describe yourself, personally and professionally?

CH: I see myself as a designer rather than an artist or jeweller. I’m not very technical, I’ll try new things even without the technical knowledge. I’m guided by a sense of discovery. At my studio in my village I’ll have members of my community (established wood carvers) come by and ask “what are you making?”, and bringing tools and saying “have you tried this?” and that makes it more a cooperative effort. I tend to work on a group at once, 6 or 7 pieces. I’ll try something on one and try something else on another, see what works.

Corrine Hunt, Stars Above Pendant, 2019. 18K yellow gold, 3.81 x 2.54 cm. COURTESY OF COASTAL PEOPLES FINE ARTS GALLERY.

S: What inspires you?

CH: I’m motivated by the world and stories around me. Personally, I want people to see me as alive [as an Indigenous person], present. I’m telling stories of us today. My work is filled with laughter, joy, surprise, and peace. I’m drawn to ravens and they often feature in my work. 

On a recent trip to Iceland, which has a rich history of design, I found fresh and new stories. Ones that were respectful of tradition but made by contemporary people. And that’s the approach I take.

Corrine Hunt, Where Air Meets Water panel (cast forton), 2017. Bone ash, graphite and aluminum composite, 89.54 x 89.54 x 2.54cm. COURTESY OF COASTAL PEOPLES FINE ARTS GALLERY.

S: What do you see as your contribution to the field of your craft?

CH: I don’t fit in a mold, I’m not a stereotype. We are a living, breathing people with a story to tell. When I work on a design, I incorporate my own stories in motifs, not traditional stories from my people (often the traditional stories belong to families, and are not mine to tell). My own stories unfold through my design.

I have an easy job, I get to see a great part of humanity when I’m working on a piece for someone, they always bring their stories, and I bring mine.

Corrine Hunt, Hummingbird Spirit Bench | Coffee Table, 2022. Fir wood, acrylic paint and stainless steel, 47 x 51.4 x 183 cm. COURTESY OF COASTAL PEOPLES FINE ARTS GALLERY.

S: What wisdom do you want to impart to younger makers?

CH: Never think about the end product, it’s about the process. The act of creation is the most important. Also have a chuckle, and people who chuckle with you.

Corrine Hunt
ig: @corrinehuntdesigner
f: @corrinehuntdesigner

This article was published in the Fall/Winter 2022 issue of Studio Magazine.