An unclassifiable figure within the current arts scene, WhiteFeather Hunter calls as much on witchcraft, science, and research as on the visual arts. Inspired by the strong resurgence of ecofeminist and neo-materialist practices and theories in contemporary art, Hunter, who considers herself both witch and artist, strives to highlight the agency of materials through a practice that coalesces craft and cutting-edge technology. Borrowing experimental and critical potentialities from bioart with regard to medical discourse and the “hard sciences,” her research aims to challenge phallocentric, capitalist, and technocratic assumptions. Her materials of preference — human or animal cells, bacteria, microorganisms, spores — act as vectors of contamination capable of infiltrating regimes of knowledge otherwise impermeable to any form of critical reflection.
