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(opening reception) Hunter Bell will be having his first solo visual art show encompassing mostly recent works including multimedia sculptures and assemblages made from found objects and manipulated materials, digitally manipulated photos and hand drawn designs, drawings and paintings on wood, paper, recycled canvas, fabric, slate, glass, plastic. meta, and other materials mostly scavenged from junkyards, dumpsters, roadsides, thrift stores, friends' closets and other resources, and thereupon re-managed into works of art and insight usually entailing particular universal / omniversal symbols and signs, as well as Bell's own designs of conceptual symbolism based on his esoteric yet accessible philosophies. Bell's visual art is fundamentally bound to his theories regarding the "OmniVerse and the Instant" as descibed in his writings.

All of Hunter Bell's visual works are functional by specific, detailed and deranged conceptions, though said functions may be unfamiliar and/or unavailable to everyone. Nonetheless, the cryptic functionality is invaluable and ultimately spiritual in ever-developing formats. Some functional items he creates are more obvious (on the surface at least) in design intent, including upcycled and original containers/boxes/display cases, "eXperimental writers' journals (e.g.real, processed X-Ray film covered journals with various images of bones, diseases, bullet wounds, etc.), bookmarks made from vintage watch pieces, flasks and carrying cases, walking canes, smudging wands, and more, all with unique engineering factors, and sometimes particular usage methods. Bell's jewelry designs are mostly made of industrial, vintage, one-of-a-kind combinations of found objects and repurposed items, as well as hand-carved, painted and soldered items. Much of Bell's work is colorful and bombastic, while others are simplistic yet deep with concept and especially eXperimental exploration.

As a Sun Ra aficionado, devotee, historian and researcher, Hunter Bell has created a series of portraits and other Ra-related conceptual pieces. Combining shapes and forms, colors and contrasts, Bell's outerspace adornments, sculpted and insculptured, omni-dimensional, visionary creations are retro-futuristic, yet timeless.

Much of Bell's work might be considered "industrial folk art," while many others as surreal and axiologicaly eXperimental. His methods are traditional and unconventional, while sometimes completely off the hook and possibly unique to Bell in essence. This body of work shows an exceptional amount of vision, dynamics, courage, and outright audacity as he explores many layers upon layers of abarrant --sometimes conflicting and contradictory -- designs and motifs. Moreover, while Bell's approach may seem simplistic in many formalities, his supernatural-like abilities to arrange countless, intricate lines, shapes, colors and negative spaces -- along with hidden symbolical, psychological, illogical, and paradoxical "messages" -- while keeping the pieces simple and delicate from afar, is powerful and focused. (Buzz Carter, Art Shadow Press)