Artist's Statement

Huncilman lives in an alternate reality. That's what viewers might think after seeing his works made from metal, wood, paper and fabric. He creates enigmatic forms with even more enigmatic titles such as Dharmamatic or Bunda Mambo. The viewer is at once fascinated and confounded by this wonderland of intriguing forms and convoluted messages.

Huncilman's work invites new approach. The use of colors spark sentimental memories. We are emotionally drawn, desiring fulfillment of our fantasy; but the alien forms don't seem to belong to any remembered world. One of the strongest attractions is the fact that many of his sculptures have movable parts or appear only to be complete if allowed to move. Our physical interaction seems to be invited. In addition to the many different kinetic aspects, some sculptures are hanging from the ceiling, or they are hanging on walls. Or, they look like machines and tools that do not suit our preconceptions of what they are supposed to look like or accomplish. This is a trademark of Huncilman's work.

Huncilman welds steel together with organic and electronic elements to create objects that are humorous and mythological. The mythology seems to have a historical basis - or does it? These objects teeter between the integration and the contradiction of their elements. They glow with glaring lights and make noises like out-dated machines. In a self-portrait, a bicycle wheel of straw is strapped to a wooden carrying frame. It's easy to project a cynical interpretation of this work as society's view of artistic talents: the right equipment used in the wrong way for no good purpose.

Huncilman's progeny would contradict that conclusion. Like Alice in Wonderland, we find that often nonsense makes much more sense.

Other pieces show a more mischievous nature at work. Rat Master Sandals makes an uncomfortable analogy between thongs and rat traps. And again, his Magic Walking Braces are made of barbed wire. A Model of Facts is a wooden chair supported by legs made of stacked squares of newspapers. Casters have been provided for convenience.

His mechanical approach contemplates stages of human experience that draws upon many cultures for its sources, universalizing these experiences in what seems like a simplified form, like a toy, yet one that is quite complicated and, upon further examination, forces the viewer to question these assumptions.