An ongoing exploration of floral still life, Richard Hutter’s artwork often uses found-paper elements collaged into the work. On the surface, his artwork is about flowering and fruiting plants. On a deeper level the work is about the balance and tension between organic and synthetic realms.
Floral still life has been the primary theme in Hutter's work since 1993. Instead of a representational approach, however, he prefers an abstracted, "architectonic" view of his subject. Hutter creates imagery by drawing with architects' tools (such as a French curve) and by collaging found elements from early 20th Century technical, mechanical, and engineering books. Formal concerns predominate over symbolic or emotional ones, informed by Minimalism and Pop, with a nod to Dada. Tactility and an obsession with surface are evident in all his work: encaustic-like, waxy acrylic paint on found-wood constructions, sticky and mottled passages on lithographic monotypes, and matte, porous-looking surfaces on found-paper collages.
Developments over the years have included: a 4-lobed flower shape inspired by Japanese Pop culture and employed by repetition, enlargement, fragmentation and perspective distortion; flowered wallpaper as a paper collage element to jump-start the dialog between grids and flowers on blank canvas; and a comma-shaped form derived from the paisley. Most recently Hutter has taken compositional and pictorial cues from 18th and 19th Century botanical illustration to inform his mixed-media paintings of invented and real flowers, fruit, leaves and vines.