After 50 years abroad in Latin America and the Holy Land, Los Angeles-born painter Dunbar currently resides in Granite Bay, California, in the foothills of the Sierra Nevada mountains. His extensive range of work is represented in numerous private collections, principally in New York, London, Hong Kong, Verona and Sydney. His paintings have been exhibited at gallery shows in New York City, at the United Nations Offices of the Baha’i International Community, NY, the executive offices of SOHO China in Beijing and during THE ART FAIR in Silicon Valley. He divides his time between studios in California and Spain. A major monograph of his work is planned for Spring, 2023.
The Forces of Light & Darkness
A look into the artistic life and views of painter and author Hooper Dunbar(The Forces of Our Time), who gives his perspective on light and darkness in art and in our society. Produced by Jim Hagopian and KC Porter
Paintings & Photographs
The Forces of Light & Darkness
A look into the artistic life and views of painter and author Hooper Dunbar(The Forces of Our Time), who gives his perspective on light and darkness in art and in our society. Produced by Jim Hagopian and KC Porter
Hooper Dunbar – Paintings & Photographs
The Pursuit of Light as an Event in the Work of Hooper C. Dunbar
The paintings of Hooper Dunbar represent a landscape of the inner self—a place that evokes both satellite images of the earth’s surface, and a topography of the hidden workings of the soul. His canvases are filled with symbols: Crosses, sometimes small and imperceptibly spinning, sometimes bold and imposing; angels that emerge from sculptural thickets of color; great shafts of light from above that crackle and cleave the canvas in two. These symbols have evolved in various guises through the decades of his work, from earlier jewels that appear as ancient, deconstructed Japanese tea bowls, to monumental paintings in which light finds its way to the spectator via concrete means.
The manner in which Dunbar configures this light goes beyond surface, beyond stylistic gestures. His paintings are effulgent—saturated with light. Canadian abstract painter, Otto Donald Rogers, describes Dunbar’s work as possessing a “strong supernatural light presence that seems to transcend style.” The paintings evoke some of the abstract expressionists’ ideas concerning spontaneity, the unconscious, and the mind, while they also represent something new: the pursuit of light as an event; a form of devotional painting or “spiritual abstract expressionism” that explores the effects of light—on the canvas, and on the soul.
On the subject of inspiration and seeing, Dunbar says, “A significant part of our growth involves the polishing of the mirror of consciousness and keeping it focused on the sublime, disposed to receiving the intuitive light of knowledge. This under- standing crystallizes into various forms and reflections. The spontaneity of the painting process translates into multiple cycles of chance and choice involving texture, line, and color.” This might serve as a description of his approach to painting.
As a young man, Dunbar was exposed to a number of generative artistic and spiritual experiences and influences. Throughout his years in Central and South America, and then, in Israel, he has always been involved in art, as a teacher, appreciator and creator. But during the 1980s, a creative association with Otto Don Rogers started him painting in earnest.
Rogers observes, “If one looks at a work and knows consciously how it has evolved, that is problematic. The painting should transcend its own process. Otherwise it is too locked in its own evolution. One shouldn’t be able to tell how it started. If you can count the decisions you are in trouble.” A visitor to Dunbar’s studio would find the painter engaged in a process that is part sporting event, part meditation and prayer. While watching, one cannot predict what a piece will become, as he unveils starkly different paintings-under-paintings. He circles around the piece, sits briefly in his chair, paces, looks at the canvas. Lines are corrected, water is poured, a sudden, spontaneous wash of white covers intricate, colorful graffito.
Throughout these stages Dunbar proceeds with a dynamic, focused attitude, following the promptings of the spirit. His techniques do not appear mechanical, forced, or self-conscious in the least. He seems compelled, and yet unconcerned when forces combine to turn things in an unforeseen direction. While a spectator might worry that his next intervention will obliterate the current iteration of the painting, he presses on and stops only when he has reached an intuitive state of completion, one that transcends its own process.
These nimble, inner adjustments, evident in his working process—that is, the cleansing of the mirror of the heart and seeking light as an event—are essential features of Dunbar’s art.
Leili Towfigh, 2007
The paintings of Hooper Dunbar represent a landscape of the inner self—a place that evokes both satellite images of the earth’s surface, and a topography of the hidden workings of the soul. His canvases are filled with symbols: Crosses, sometimes small and imperceptibly spinning, sometimes bold and imposing; angels that emerge from sculptural thickets of color; great shafts of light from above that crackle and cleave the canvas in two. These symbols have evolved in various guises through the decades of his work, from earlier jewels that appear as ancient, deconstructed Japanese tea bowls, to monumental paintings in which light finds its way to the spectator via concrete means.
The manner in which Dunbar configures this light goes beyond surface, beyond stylistic gestures. His paintings are effulgent—saturated with light. Canadian abstract painter, Otto Donald Rogers, describes Dunbar’s work as possessing a “strong supernatural light presence that seems to transcend style.” The paintings evoke some of the abstract expressionists’ ideas concerning spontaneity, the unconscious, and the mind, while they also represent something new: the pursuit of light as an event; a form of devotional painting or “spiritual abstract expressionism” that explores the effects of light—on the canvas, and on the soul.
On the subject of inspiration and seeing, Dunbar says, “A significant part of our growth involves the polishing of the mirror of consciousness and keeping it focused on the sublime, disposed to receiving the intuitive light of knowledge. This under- standing crystallizes into various forms and reflections. The spontaneity of the painting process translates into multiple cycles of chance and choice involving texture, line, and color.” This might serve as a description of his approach to painting.
As a young man, Dunbar was exposed to a number of generative artistic and spiritual experiences and influences. Throughout his years in Central and South America, and then, in Israel, he has always been involved in art, as a teacher, appreciator and creator. But during the 1980s, a creative association with Otto Don Rogers started him painting in earnest.
Rogers observes, “If one looks at a work and knows consciously how it has evolved, that is problematic. The painting should transcend its own process. Otherwise it is too locked in its own evolution. One shouldn’t be able to tell how it started. If you can count the decisions you are in trouble.” A visitor to Dunbar’s studio would find the painter engaged in a process that is part sporting event, part meditation and prayer. While watching, one cannot predict what a piece will become, as he unveils starkly different paintings-under-paintings. He circles around the piece, sits briefly in his chair, paces, looks at the canvas. Lines are corrected, water is poured, a sudden, spontaneous wash of white covers intricate, colorful graffito.
Throughout these stages Dunbar proceeds with a dynamic, focused attitude, following the promptings of the spirit. His techniques do not appear mechanical, forced, or self-conscious in the least. He seems compelled, and yet unconcerned when forces combine to turn things in an unforeseen direction. While a spectator might worry that his next intervention will obliterate the current iteration of the painting, he presses on and stops only when he has reached an intuitive state of completion, one that transcends its own process.
These nimble, inner adjustments, evident in his working process—that is, the cleansing of the mirror of the heart and seeking light as an event—are essential features of Dunbar’s art.
Leili Towfigh
The paintings of Hooper Dunbar represent a landscape of the inner self—a place that evokes both satellite images of the earth’s surface, and a topography of the hidden workings of the soul. His canvases are filled with symbols: Crosses, sometimes small and imperceptibly spinning, sometimes bold and imposing; angels that emerge from sculptural thickets of color; great shafts of light from above that crackle and cleave the canvas in two. These symbols have evolved in various guises through the decades of his work, from earlier jewels that appear as ancient, deconstructed Japanese tea bowls, to monumental paintings in which light finds its way to the spectator via concrete means.
The manner in which Dunbar configures this light goes beyond surface, beyond stylistic gestures. His paintings are effulgent—saturated with light. Canadian abstract painter, Otto Donald Rogers, describes Dunbar’s work as possessing a “strong supernatural light presence that seems to transcend style.” The paintings evoke some of the abstract expressionists’ ideas concerning spontaneity, the unconscious, and the mind, while they also represent something new: the pursuit of light as an event; a form of devotional painting or “spiritual abstract expressionism” that explores the effects of light—on the canvas, and on the soul.
On the subject of inspiration and seeing, Dunbar says, “A significant part of our growth involves the polishing of the mirror of consciousness and keeping it focused on the sublime, disposed to receiving the intuitive light of knowledge. This under- standing crystallizes into various forms and reflections. The spontaneity of the painting process translates into multiple cycles of chance and choice involving texture, line, and color.” This might serve as a description of his approach to painting.
As a young man, Dunbar was exposed to a number of generative artistic and spiritual experiences and influences. Throughout his years in Central and South America, and then, in Israel, he has always been involved in art, as a teacher, appreciator and creator. But during the 1980s, a creative association with Otto Don Rogers started him painting in earnest.
Rogers observes, “If one looks at a work and knows consciously how it has evolved, that is problematic. The painting should transcend its own process. Otherwise it is too locked in its own evolution. One shouldn’t be able to tell how it started. If you can count the decisions you are in trouble.” A visitor to Dunbar’s studio would find the painter engaged in a process that is part sporting event, part meditation and prayer. While watching, one cannot predict what a piece will become, as he unveils starkly different paintings-under-paintings. He circles around the piece, sits briefly in his chair, paces, looks at the canvas. Lines are corrected, water is poured, a sudden, spontaneous wash of white covers intricate, colorful graffito.
Throughout these stages Dunbar proceeds with a dynamic, focused attitude, following the promptings of the spirit. His techniques do not appear mechanical, forced, or self-conscious in the least. He seems compelled, and yet unconcerned when forces combine to turn things in an unforeseen direction. While a spectator might worry that his next intervention will obliterate the current iteration of the painting, he presses on and stops only when he has reached an intuitive state of completion, one that transcends its own process.
These nimble, inner adjustments, evident in his working process—that is, the cleansing of the mirror of the heart and seeking light as an event—are essential features of Dunbar’s art.
Leili Towfigh
VITAE
1937
Born in Los Angeles, California.
1955 – 1956
Worked in mosaic mural production; began scenic design and execution.
1956 - 1963
Acted on stage in New York and LA, appeared in TV series and films. Painting with Leonard Herbert, and created expressionist painting in casein and oils.
1962
Married Maralynn S. George in Tegucigalpa, Honduras
1963 - 1973
Relocated to South America residing over the next decade in Bolivia, Chile, and Argentina. Engaged in book design and production, translation services and lecturing.
1973 - 1988
Appointed founding member of the Baha’i International Teaching Centre, Haifa, Israel. In this capacity traveled throughout the world. Continued drawing, pen and ink work, watercolor and cast sculpture.
1988
Elected to the Universal House of Justice, world governing body of the Baha’i Faith.
1988 – 2010
Established an art studio for production of larger acrylic works, with emphasis on abstract painting. Works began attracting art collectors on several continents, including in New York, Hong Kong, Verona and London. In Haifa, participated in an annual international art show.
2005 – 2006
Established a second studio in Zaragoza, Spain, producing a first Spanish series of paintings and drawings. Chosen by the judges for inclusion in the summer festival of the Royal Academy of Arts in London. Private showing of paintings in Knightsbridge arranged by London collector.
Initiated “found images” photographic project; visited numerous European cites in pursuit of such photo images.
2007
Toured China, lecturing and presenting work in several venues, including a Beijing university and the National Academy of Arts outside Shanghai, showing both current paintings and photographic images. Installed works at the BIC United Nations Offices, U.N. Plaza, New York. Held a private showing of paintings in London.
2008 – 2010
Installed work in the offices of SOHO, Beijing, for CEO Zhang Xin. Showing in Manhattan of private collection for friends and curators.
2010
Retired as member of the Universal House of Justice. Relocated to Granite Bay, California. Established American studio, in a rural setting. Began first cycles of California paintings. Held a showing in Palo Alto of recent works in collaboration with a collector. Revisited several European countries, followed by a sojourn at the Zaragoza studio, creating a new series of Spanish paintings.
2011
First solo exhibition of paintings in New York, Ethan Cohen Fine Arts
2012 – 2013
Pairings of paintings held in several international venues, Ethan Cohen Fine Arts
2017
Joint exhibition of paintings with LA-based artist Sarah Robarts organized by Vernissage LLC, West Hollywood.
2016
Presentation of work by Ethan Cohen Fine Art at ART Silicon Valley
VITAE
1937
Born in Los Angeles, California.
1955 – 1956
Worked in mosaic mural production; began scenic design and execution.
1956 - 1958
Acted on stage in New York and LA, appeared in TV series and films. Painting with Leonard Herbert, and created expressionist painting in casein and oils.
1958 – 1963
Acted on stage in New York and LA, appeared in TV series and films. Painting with Leonard Herbert, and created expressionist painting in casein and oils.
1962
Married Maralynn S. George in Tegucigalpa, Honduras
1963 - 1973
Relocated to South America residing over the next decade in Bolivia, Chile, and Argentina. Engaged in book design and production, translation services and lecturing.
1973 - 1988
Appointed founding member of the Baha’i International Teaching Centre, Haifa, Israel. In this capacity traveled throughout the world. Continued drawing, pen and ink work, watercolor and casted sculpture.
1988
Elected to the Universal House of Justice, world governing body of the Baha’i Faith.
1988 – 2010
Established an art studio for production of larger acrylic works, with emphasis on abstract painting. Works began attracting art collectors on several continents, including in New York, Hong Kong, Verona and London. In Haifa, participated in an annual international art show.
2005 – 2006
Established a second studio in Zaragoza, Spain, producing a first Spanish series of paintings and drawings. Chosen by the judges for inclusion in the summer festival of the Royal Academy of Arts in London. Private showing of paintings in Knightsbridge arranged by London collector.
2005 – 2006
Initiated “found images” photographic project; visited numerous European cites in pursuit of such photo images.
2007
Toured China, lecturing and presenting work in several venues, including a Beijing university and the National Academy of Arts outside Shanghai, showing both current paintings and photographic images. Installed works at the BIC United Nations Offices, U.N. Plaza, New York. Held a private showing of paintings in London.
2008 – 2010
Installed work in the offices of SOHO, Beijing, for CEO Zhang Xin. Showing in Manhattan of private collection for friends and curators.
2011
First solo exhibition of paintings in New York, Ethan Cohen Fine Arts
2010
Relocated to Granite Bay, California. Established American studio, in a rural setting. Began first cycles of California paintings. Held a showing in Palo Alto of recent works in collaboration with a collector. Revisited several European countries, followed by a sojourn at the Zaragoza studio, creating a new series of Spanish paintings.
2010
Retired as member of the Universal House of Justice.
2011
First solo exhibition of paintings in New York, Ethan Cohen Fine Arts
2012 – 2013
Representation of pairings in several international venues, Ethan Cohen Fine Arts
2017
Joint exhibition of paintings with Sarah Robarts organized by Vernissage LLC, West Hollywood.
2016
Numerous paintings displayed by Ethan Cohen Fine Art at ART Silicon Valley