022: Hunter Orland

Born and raised in Guam, Hunter Orland is a contemporary sculptor and ceramicist of CHamorro, Filipino, and Russian descent. Her work exudes humor and fantasy elements, often reflecting aspects of her everyday life.

Aside from her artistic pursuits, Orland also works as an art gallery assistant, which helps her stay connected to the art community while honing her installation skills. She attributes her inclination towards sculpture to her childhood experiences of crafting toys and structures out of unconventional materials. Ceramics, on the other hand, fascinates her for its historical significance and practicality, with a mug being a tangible example of art integrated into daily routines.

As a CHamorro, Filipino, and Russian, Orland finds subtle influences of her heritage in her work, particularly in her use of color and occasional incorporation of CHamorro language or culinary references. Her diverse background contributes to the eclectic nature of her creations.

Orland draws inspiration from many sources, including art history, film, fashion, and everyday experiences. She finds solace in consuming various forms of media when faced with creative blocks, emphasizing the importance of diversifying one's interests and seeking inspiration from unexpected sources. While she enjoys experimenting with different materials, clay remains a constant favorite for its versatility. Orland strives to create interactive art pieces that engage the senses beyond just sight, aiming to evoke tactile experiences in the viewer.

Despite facing challenges such as limited access to facilities for ceramics, Orland remains committed to her artistic journey. She sees artists as individuals who enrich society by bringing innovation and creativity into people's lives. Reflecting on her evolution as an artist, Orland notes a transition from darker themes to a more balanced expression of brightness and joy in her work. She encourages aspiring artists to focus on presentation and professionalism while remaining open to seeking assistance when needed.

For Hunter’s full interview, continue reading below. Also, check out more of her work on Instagram or her website. Thanks again for your time!

The Blips of Blip Neighborhood
*Hunter Orland*

Describe what you do.

I am a sculptor and a ceramicist who makes figurines, pottery, soft sculptures, wearable sculptures, with any material I can get my hands on. There is a ton of humor in what I create and although it is very fantasy-based I tend to make the subjects of my work relating to my every day life. Even though I am open with materials I also find traditional clay to be a material I can always fall back on. If I’m not sewing, crocheting, gluing, or baking a mixed media sculpture then I am using clay to make figurines and pottery. I also love creating work where there is some sort of interaction involved. If you can eat it, wear it, play with it, then that is my kind of work. I believe people naturally want to touch artwork. Sculpture and ceramics' strong points is its ability to be experienced not just with sight but with other with senses. I wish to create a body of work which permits interaction.

I also work as an art gallery assistant. I find it keeps up my art installation chops while staying in the art community loop. I really love and I am grateful for my job.

How would you define art?

A little buddy humans have in their pocket that they want to feed every now and then in the middle of their everyday lives.

Why did you choose your art form?

For sculpture, I felt it came most naturally to me. As a kid I would make toys, costumes, and intricate forts with hallways and sliding doors out of cardboard, clips, and magnets so it is not much different now when make my work with unconventional materials. I also loved watching behind-the-scenes films. I will always think it is so cool seeing what prop artists create. In sculpture I have to use my brain a lot to problem solve. I often feel like those cartoonish inventors scrapping together objects to make something.

Meanwhile ceramics in general is so loose. I can create anything with clay. Pigs can’t fly but it can now with clay. Furthermore, historically ceramics was a practical craft before it was thought to be an art. It is so embedded into human existence because it was a necessity. I love studying the history of ceramics. I could go on a rant about this but I won’t. Also the ability to have something I create be a part of my daily routine in the form of a mug is appealing. The work doesn’t just sit there, there is a practicality to it.

How has your ethnicity/race affected the type of art you make?

I am CHamorro, Filipino, and of Russian descent. I would say my work is very contemporary and not what many people would describe as “CHamorro art” but I see influences in my use of color having a lot of blues and bubbly effects in my ceramics. I guess in some of my work I have this indirect way of being inspired by my aquatic surroundings. If I find the work calls for it I also include the CHamorro language or the food I grew up with. I see myself as a jumble of things but it doesn’t make me anything less of what I am at the same time. I feel my work shows that.

How did you get into art?

I was always into some form of art my whole life. I spent many years dancing ballet since I was three and thought I should try other things. Gotta thank my high school art teacher Mr. Canos for properly introducing me to sculpture.

Who do you idolize?

Idolize is a strong word. I never idolized a person before. I genuinely think it is 1) Kuchipatchi from Tamagotchi. 2) A sad sweet-potato-shaped dog I know named Isa. 3) My friend’s cat, Poko, that has extremely long legs.

Where do you get your inspiration?

Researching art history, film, looking at people’s outfits, cooking/baking techniques, and music. Generally mostly other forms of art or media. Also whenever something funny happens in my everyday life I just wanna draw it.

Specifically I always go back to looking at the Dark Crystal Series, the Professor Layton games, Les triplettes de Belleville, the work of Masaaki Yuasa, the music of Yellow Magic Orchestra, character designs of Rumiko Takahashi and CLAMP, Tamagotchi Corner Shop DS games, and really old stop-motion films. Atmospheric work with a mix of cuteness and creepy.

8. What do you do when you're stuck on an artwork or lacking motivation or inspiration? Inhale a ton of different media. If I can’t find something to engross myself in, then go to friends. I always find something new to check out which kills a block. If that doesn’t work, just go outside with friends. Watch a random movie I would never watch at the theater, take a hike for references, or skate. Do something unrelated to art.

What do you like incorporating most into your art?

Humor, cool outfits, nice hair, and wiggly lines.

What is something that you add to your art as like your signature?

Humor, sanggam/mishima technique, a ton of color, you can touch, eat with, or wear it, basically interact with it, my inability to make straight lines.

Take us through your process for making art.

Before I start I do a ton of research. I tend to research glaze chemical combinations, art history, fashion, techniques, and materials so much during my free time. I usually have this set atmosphere I want to go for in a collection of work I am creating. I like grouping my work into series so I don’t have to keep up the intense research I tend to do for every single piece. Keeps me sane.

I always write gibberish blabs of concepts and quick doodles of different forms, characters, and outfits when I’m eating, talking to friends, watching or listening to something. Usually at the most inconvenient times when I don’t have my sketchbook. I have a ton of napkins and newspaper I draw on. Later on I collage it into my sketchbook with medical tape or carpenter tape. I like the look it gives.

Then I think about what media to use. Put on music, a video essay, or a movie and sculpt a rough shape of the form. Then add definition to it. The parts after depends on what I am making, be it a soft sculpture, wearable sculpture, ceramic figurines, or pottery.

My favorite part in clay is decorating my work. While the clay dries I make tests. These tests are not-so-fancy-looking chemistry experiments with clay and different chemical and temperature combinations. This is to find the right color and ceramic glaze textures I want. Finally I just add the glaze to my work and throw it into the fire and hope for the best. My ceramics take a long time, sometimes even months despite being small in size. While my bigger non-clay sculptures can take two days at least. I always work on multiple projects at once.

When I’m finished, I take out my shoddy photography set up to take pictures: a backdrop or drop cloth, my tripod, a giant ceiling light I hold in one hand, and my phone with a remote.

What do you struggle with the most when making art?

Having the facilities and equipment, especially for ceramics. In sculpture anything can be used as material but in traditional clay, you can’t cut corners with it. A working kiln is a must. The problem is where I live it is not possible to have that. I am also particular with ceramic glazes and prefer to make them myself so I need the chemicals to make it. Pretty soon I may not have access to any kiln. I’m coming into terms with the possibility of unable to do ceramics for a while. I’ll still be making my other sculptural work. Just now in a transition when it comes to my clay work.

What role do artists have in society?

Artist’s role in society is to spice up people’s lives. To design, invent, create, different things for practical or emotional reasons. AI will be creating work but there will always be a demand for human-made creations.

What characteristics do you think all artists share?

Stubborn weirdos

What’s your favorite place in Guam?

The messy sculpture studio at UOG. Has an extremely crowded room full of old blocky tech aging back to even the 60s and another dusty and dim room full of extremely toxic chemicals for glazing. The place looks like it can be in old photos. Whenever I feel overwhelmed I would just go in the back rooms and inspect the tech and surround myself in the toxic chemicals. I would often stay there late at night working on an art project when I was as an undergrad.

How has your artwork evolved over time?

When I first truly got into visual art, my work was rather dark for the heck of it. Then during college, it evolved into very bright, colorful, and happy looking. It has been almost a year since I graduated and art-wise, I am now trying to make a nice balance between the two.

I also started out as a 2D (traditional drawing and painting) and 3D (traditional sculpture) artist. Then had a chunk of my (currently short) life where I insisted on not being a 2D artist. I am slowly getting back into mixing things up with drawing and painting again through mixed-media collages. Ultimately though, sculpture and ceramics will always be my main love.

Why did you choose to become an artist?

My parents always made it a point for their kids to always have one “thing” outside of school. Got out of dance during high school, moved to music and fine art. Thought it would be a side hobby but I always did something artistic. I just went with the flow and it just happened. I believe I have the mental stamina and stubbornness to do it forever.

Is your art geared towards a specific audience?

ME ˚✧₊⁎ˍ̮⁺˳✧༚

Do you have any tips for aspiring artists?

I feel like I am in no place giving tips to people though. I am still pretty young and learning a lot. But I would say this:

Know how you are going to display your work. Even if it is just looking at your frame and seeing how it hangs. Learning how to use a leveler, a hammer, and nails is a must if you want to be in art shows. A nice display really boosts the quality and impression people have with your work. Some shows you won’t be setting up your work yourself but there are times when you can’t rely on someone else to do that for you. Shows character and professionalism not to mention you can create cooler ideas thinking about the placement of your work and how you want the audience to see it.

This does not mean you should not ask for help though. Ask for help.

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