A self-reflective viewpoint plays a pivotal role in situating work between the object and the subject, where his practice pinpoints the crossroads of fine arts and consumer goods. Through contextual and interdisciplinary explorations, Hunfeld’s work moves towards forms of sampling that recontextualize, alter, and curate mainstream objects into new and critically assessed modes of being. It curates the viewer’s perspective by appropriating and accessorizing various identity extensions and resorting to the participatory horizontal and passive vertical plane.
This focus on the intersection between consumer and product elaborates on how individuals extend beyond their boundaries by being re-imagined through their inventions. The often branded bodies of work situate the artist on the sideline of this process while revealing personal experiences surrounding themes of addiction and loneliness, which are consequently pulled towards a larger but relational narrative.
The work builds on this relational aspiration and satirically celebrates its closely related emotional dependencies by drawing visual and material inspiration from presentational and promotional occurrences within pop culture. These dependencies are established by research into the general public’s interests, contemporary communication, collective fantasies, and media such as musical lyrics, advertisements, fashion collections, and visual merchandising.
Hunfeld’s perspective deviates from these typical pop cultural grounds due to personal disconnections and possibly fearing aspirations, creating representations at a safe distance from their actuality. This worldbuilding practice attempts to create visual and material languages out of notions like the flattening of distinctions, the immediacy within late capitalism, and the self-sabotaging subject. As these concepts are often out of reach, Hunfeld utilizes various media in close relation to their pop-cultural framework and frequently gets materialized by polished and industrial production standards.