PRESS

For Vermont artist Charlie Hunter, much of the beauty of his native New England lies not so much in its vistas and richness of color, but in the human intervention of road signs, the abandoned or transformed industrial structures, the trestle rail bridge and vintage gas stations.... Hunter is less fascinated by the grand pastoral landscape that by the single sheep looking warily over its shoulder, the baleful stare of a pastured Holstein, or the lone hen peering anxiously into the chicken house. ...This is not the Vermont of fall leaves and covered bridges the tourists come to see, but the Vermont of abandoned Plymouths, lost industries and declining family farms. And Hunter captures that everyday beauty with realism and sympathy, his eye eager for the telling detail, the unusual viewpoint, and the unexpected angle.
- Robert Smith
Art New England

There are palpable ghosts in these pictures. People made products and they were proud of their work, and this, combined with the decay [shown in Hunter's work] makes the heart ache for redemption of some kind. And maybe these paintings are just that.
- Nina Bander
The Greenfield Recorder

One of my favoirte pastel artists... In his numerous agricultural portraits the elements of aging barn boards and fencing reflect his sense of beauty. ...Once I saw the pastel portrait "Jersey Cow" I spent half the year tracking Hunter down. I was also struck by the powerful use of color in Hunter's vivid portrait of the great father of the blues, Robert Johnson - a stunning swath of sunset behind his dark face.
- Diane Lisher-Goodband
Brattleboro Reformer

Hunter's subjects range from trains, radiators and anything that needs a coat of paint to various Vermont and New Hampshire landscape settings usually involving old architecture, cows - mostly Jerseys, but an occasional Holstein as well - and sheep. His work depicts a warm yet direct romantic view balanced with a certain rural humor.
- Joe Milliken
Entertainment Times

Check out Charlie Hunter's striking work!
The Boston Globe

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