Chris Hunt

The creation of Carver: A Paris Story was the apex of many experiences for Chris Hunt. His first title, published in 2016, led to a series of opportunities with AMC, Filson, and Z2 comics. The artist resides in his hometown of Westerville, Ohio. He spent his early life in the Midwest, and later moved to New York City for a time. Creating comic books is a full-circle return to his roots, to the child who dreams of telling his own stories. Our conversation has an unexpected cycle, covering the topic of time again and again. How we use our time, the way that it quickens when you are out of your twenties. Most important is the eternal age that people feel. This stage in life is unique to each person and a place where pivotal experiences are layered like film negatives, never obscuring the core self. Hunt places himself at the age of nine, devouring comics and selections of his grandfather’s numerous history books. The only difference is that he has seen and experienced much more of the world.

Carver: A Paris Story (Z2 Comics)

Growing up, Hunt had an intense interest in storytelling and worked diligently on his illustrations, but his path to becoming a comic book artist would be unique. Degree programs in comics were non-existent in the early 2000s and art school couldn’t provide the experience that he was looking for. Raised with a pragmatic mindset, he made the decision to take a step back from the art form and pursue business instead. At the age of twenty-one he became one of the most successful managers at Starbucks on a regional level.

While Hunt found success, without comics he says, “I was heartbroken. It was like being estranged from somebody that I loved.” In 2006, his childhood comic book hero, Paul Pope, would release Batman: Year 100 (DC Comics). Hunt recalls going to Barnes and Noble and opening the volume that “reignited the flame” to create comics. It was an emotional awakening that led Hunt outside of his comfort zone to fulfill his dream. He sent Paul Pope a message on his Flickr profile, an online gallery and image sharing website, and quickly received a reply. Pope suggested that he draw with a brush and ink and stated that he would be disappointed with the first 1000 drawings or so. In search of a creative breakthrough on the other side of 1000, Hunt proceeded to draw diligently. On his own Flickr profile, he posted and numbered each illustration, and Pope left constructive criticism in the comments. The two would eventually meet and Pope directed him toward opportunities where he would learn the craft. They remain friends to this day.

After making the decision to follow the path that had been haunting him, Hunt says, “Something shook loose in my own perception of self and the world around me. Suddenly, everything became an opportunity. It was an opportunity to learn. It was an opportunity to research. I bent my existence toward learning the craft of comics.” This one decision would take him into a new, more fulfilling direction.

Filson Adventures (Filson 1897)

Before creating Carver: A Paris Story, Hunt spent many years learning about The City of Love. He remembers being a young kid who was fascinated by the baroque and historic qualities of Paris. He read the works of Ernest Hemingway, who lived abroad in the city for several years. At that age he knew that he didn’t comprehend all aspects of the characters’ experiences. He developed a “curiosity of context” which drove him to research. An intense interest in the Lost Generation of prominent American authors, best known for works in the 1920s, would open him up to music and more works of literature. Upon arriving in Paris in his mid-twenties Hunt was disappointed that it lacked the visual romance he had been dreaming of for so long.

It was in this city that he spent three weeks with an ambiguous love from Idaho, culminating in an adventurous night fueled by a bottle of Four Roses. After exploring the city, they found their way to Notre Dame Island, legs dangling over the waters of the Siene as they finished the bottle. The following day would begin to bring clarity for them both. “We knew that our relationship couldn’t top that [experience],” he says. “Suddenly, I started to understand Hemingway. I started to see that this was the subtext that I could never figure out. It’s kind of inherently sad because it’s all this thing that happens, and then it’s just over.”

The concept for the character Carver began as a sketch in Paris. This developed into a bittersweet, romantic comic. In the following months the true heart of the story would be solidified. Hunt tragically lost two of his best friends, one to a terminal diagnosis and the other to a train accident, experiences that changed him. He would pour himself into creating Carver: A Paris Story with new layers of loss and reflection. Creating Carver was an intense process, and on the heels of its publication he wasn’t sure that he had another story inside of him.

Eden: A Skillet Graphic Novel (Z2 Comics)

Hunt returned to Filson 1897, an outdoor apparel retail chain, where he had worked in the past. He didn’t anticipate that readers would bring copies of Carver to the store and ask for his signature. He also didn’t expect to receive the 2016 Comic Book of the Year award from IGN Corporation, a world-leader in entertainment media. It wasn’t long before his work caught the attention of Filson, which turned into their Filson Adventures web comic.

Hunt worked with Filson to tell the story of their brand in a graphic novel format and is currently commissioned for other creative projects with the company. In the weekly comic strip on Filson’s Instagram account, the old-world quality of the brand is a focal point. This was a challenge to articulate and translate into the world of comics. Of the salt-of-the-earth survivalist archetype he says, “It exists still, but it’s a part of this history. You can actually go out and engage the narrative in almost the exact same way that you did one hundred years ago.” These qualities of the Filson brand met the vibe of comics, which in the artist’s mind is something more like jazz – a fluctuating piece of music with a steady bass at its core. He cites his appreciation for character development and steadily slow-burning narratives as initial influences, but further collaboration would lead to more action-packed chapters.

Hunt is currently working on the second installment of the Carver story and has more projects on the horizon that he can’t reveal just yet. He states that in his downtime he is reading international comic books and seeking an elusive documentary about the comic book legend Hugo Pratt. Learn more about Chris Hunt and his work at

Brooke Palmer


“Fire Coral”

Brooke Palmer is painting in his Toronto, Ontario studio prepping for The Artist Project.  The four-day exhibition, held in Toronto, Canada from February 21-24, features 300 artists and will be held at The Better Living Center. The artist is also a stills photographer in the film industry and IT: Chapter Two (2019) has recently wrapped, giving him space to step back from the camera.

“It’s been an interesting career.  It’s never the same day twice,” Palmer says.  Most shoots average around two-to-three months, during which the stills photographer is present for every scene to capture images for publicity and media.  Palmer’s photos become the movie posters and Instagram posts (among other modes of advertisement) that draw people to the box office and Netflix.  The hotly anticipated IT: Chapter Two was a four-month long shoot.  As the stills photographer, Palmer was present 5-6 days each week for up to sixteen hour days.  Of his lengthy career, he says, “You’re constantly working on new projects with new crews, and new actors, and new stories, new locations – sometimes different cities.  It changes, and it never becomes boring because you are never in the same place for very long.”  In this pause between film projects Palmer is creating expressive works, paintings that are emotive in their depth and form.  The fast-paced film world is a contrast to painting.  Modern-day binge watching makes the world of film and television increasingly passing, as people consume one episode or film only to want another.  Viewing a canvas makes us pause.  The world contained inside its dimensions speaks to another side of the artist.



“Free Diver”

Painting has come in and out of Palmer’s life for years, leading up to this stage where he is immersed in the practice.  “I started painting about thirty years ago before my first child was born.  Throughout the years I would be drawn to periods where I painted quite a bit, and then there’d be sort of fallow periods where I would go a certain length of time without painting anything.”  Four years ago, Palmer felt that it was time to have studio space and commit to the process of art making.  “Those kinds of choices pushed me to paint on a regular basis and more seriously, because I was making not only emotional commitments to it but financial commitments to process, to sell.  I was sort of pushed more intensely to see what I could produce and to try to get some results out of it.”  Palmer’s effort has led to several exhibitions and garnered the attention of art collectors worldwide.  International clientele of Toronto galleries, as far away as Iran, own Brooke Palmer originals.  Still, like many artists he finds that saying goodbye to the work has two sides.  Knowing that someone else connects to the work is exciting, but letting deeply held pieces go isn’t always easy.  Among them Palmer counts ‘On Iridescent Wings’ and ‘Passage to Heaven.’  “At the end of the day it does leave me with a feeling of satisfaction and gratification to know my art is providing joy in a total stranger’s life.  Selling pieces also opens both the physical and emotional space to embark on new creations and this keeps the creative process constantly moving forward.  It’s a win-win for all involved.”




The creative process begins with a loose, unstretched canvas “that allows me to manipulate the canvas and to create values and depressions,” says Palmer.  He then pours the paint on the canvas to create shapes and qualities of movement.  The first color dictates what the next will be, and layers continue to form a dynamic whole.  The translucent quality is created with water “to soften the edges and cause one color to run over the other,” he says.  Layers of warm colors can become luminous, “creating the illusion of the painting sometimes being lit from within.  If you have beautiful yellows or oranges underneath darker colors, sometimes they appear to illuminate the painting as a whole.”  Unexpected colors can emerge from the process of mixing, layering, and adding water.  The play of color, the mood and dance of this process, has Palmer captivated.  “The outcome is never guaranteed or completely predictable.  And sometimes what I started off intending to do and what the end result is are very different,” says Palmer. The layers of various colors cause each painting to become a kaleidoscope of its own.

Like painting, stills photography began with one image that led to more, unexpected opportunities.  In the late 1980s Palmer was an editorial photographer for magazines.  His cover shot on TV Guide Magazine of Canadian musician Anne Murray caught the attention of film distribution company Alliance Atlantis Communications INC.  He was brought on the set of the television series’ Ready or Not (1993), Flash Forward (1995), and Traders (1996) to capture stills and now has ninety-three credits on his resume.  Highlights for the artist are Life with Judy Garland: Me and My Shadows (2001), meeting and photographing Elton John, and of course working on the IT (2017) franchise.




Palmer’s comfort with unpredictability is present in both his paintings and his film work.  On the set of a film there a host of unknown factors.  Each actor’s process is unique, as is the process of the producers and crew.  “When you begin any film project the first day or two are really telling in terms of what the process will be like.”  Building a rapport with each actor in their own way is essential to being able to shoot dynamic images of them.  Shooting still photos while filming is taking place, some actors need more or less space or respond to different angles.  The subtle balance of interacting and blending in is an art form.  With painting Palmer allows the colors to be, interacting by occasionally thinning their edges and applying a gentle hand, trusting in what will emerge.  “I like the unknown part of [painting].  Every time you start one there’s opportunity to be surprised and take it in another direction, which I think is one of the most intriguing parts about making art and painting.”


Random Childhood Recollections

“Random Childhood Recollections”

Still, the difference between the two artforms is distinct for Palmer.  “I have spent over half of my life on film sets. I have had a great career and enjoyed the ride. The world of film and television is transient. We live in a world of voracious consumption. People love a particular TV series or a film and almost immediately after consuming it are on the hunt for the next show or film to become infatuated or obsessed with.  It is impermanent, fleeting.

“I believe we reach an age in life where we reevaluate what our purpose is here on earth and in this life. We take on ‘legacy’ projects. We begin to examine and work towards the important question of ‘What are we going to leave behind?’ when our time is finished here. Without question, my 6 beautiful children are by far my greatest achievement and accomplishment. A father could never be more proud of his children than I am of mine.  Still, I cannot help smiling, and I actually felt a chill run up my spine in contemplation of this thought.  Someday, far into the future I hope, my paintings will live on and hang in the homes of my beautiful children or a complete stranger.  ‘Who made this painting?’ someone will say. ‘My father’ could be the reply or, ‘There was an artist named Brooke Palmer who’s work charmed and captivated me.’”

Brooke_Artist_05_R_pp_FINAL WEBSITE copy

View Palmer’s work at The Artist Project in Toronto, Canada from February 21-24, 2019.

(Images courtesy of Brooke Palmer)

Alessia Brusco – Skogens Rymd

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“Well, I think I´m going to say an obvious thing, but nature is so rich that it is impossible not to be inspired,” says Allesia Brusco, aka Skogens Rymd.  Her painterly moniker means “the space of the forest” in Swedish, describing the world that she captures on the canvas.  The artist has made a name for herself by creating images inspired by natural phenomena that evoke the spirits of ancient myths.  Each painting is a Nordic landscape.  The ebb, flow, and crescendo of an epic tale is found in the depth and lights of colors, the movement of celestial bodies, and the steadfast presence of dense forests.

Brusco approaches the painting landscapes through her own eyes and experience.  A sense of awe on the cusp of otherworldly, her artwork interacts with her various wealths of knowledge. While she finds inspiration in the sky in Southern Sweden, the artist is originally from Northern Italy.  She was always an avid reader, managing to “devour” a book in a manner of hours.  Reading Tolkien spurred an interest in ancient and medivel studies, in which she has holds a degree.  “I´ve read a lot of medieval literature from many countries, mostly Italy, England, France, Spain and Scandinavia. I really like novels from Nordic writers.”  Her favorites among them are Sigrid Undset, Knut Hamsun, Selma Lagerlöf, and Mikael Niemi.  Philosophy, anthropology, and archeology are also of interest to Brusco.  All of her studies feed her artistry.  “Sometimes, I add a quote under the title of my paintings coming from a book that gave me something I wanted to transform in an image.”


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“Midvinter” detail

Sweden is her creative home, in a sense.  “I´ve always been fascinated by this culture and I felt at once home here and inspired by everything I paint.  The sky is so clear here in the countryside that I started to look at the stars more often.  Obviously not only the culture I got from books, but many of the legends and the environment here helped me to start to paint in December 2015.”

Brusco’s attraction to landscapes comes from her other home: “Where I was born, in the northwest of Italy, there is a lot of nature and I lived in little town by the sea.  Here in Sweden the nature is of course more dominant and I like it very much.  I really feel good in the countryside with not so many people, cars, buildings, and noises. When I have to come back to Italy, each time I just get to the train station or the airport, it´s like a little trauma to come back in a big city and I feel quite misplaced.”  The details of her paintings come from a peaceful study of her surroundings.  “What really inspire me are the colors of the sky at dusk or dawn.  There are so many tones that most of the time are so difficult to reproduce because the human eye is lured to think that, for example, a kind of pink is warmer but when you try it on the canvas it has another effect.”

In addition to her scholarly passions, Brusco finds endless inspiration in Ulver’s 1995 album Bergatt.  The experimental metal holds the steady rhythms, like the enduring myths and legends that she has studied.  An ambient quality brings sweeping and emotive movement, like the starry and misty forms against the dark skies in her paintings.

Brusco has an upcoming show in the spring of 2019 at an appropriately historical location.  Sala Silvergruva, formerly a silver mine is now an eclectic event space and tourist attraction.  The collection of work will feature Scandinavian folklore and fairytales.

See more of Allesia’s artwork and follow her on Instagram here.

Screen Shot 2018-12-04 at 10.49.06 AM.png“Vårnatt”

A. Recherche

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A. Rechere is Ashara Shapiro’s latest venture. Launching October 25-27, the jewelry and accessories are storied items that have gone through a transformation. Antique items that have lost their function in modern daily life are turned into pieces both elegant and edgy.  Shapiro is known as one half of the Bucks County, Pennsylvania creative duo ReClaimed.  The California native learned the art of woodworking from her father, leading her to eventually create functional, eclectic art in the form of furniture.  Six months ago, in the studio stocked with finds from antique malls and abandoned barns, Shapiro saw the potential for these items to become fashion.  “Throughout that process [with ReClaimed] I was collecting bits and pieces that I loved” says Shapiro, old machine tags, brass rulers and scales, among them.  “I just started making things for myself with those bits and pieces and then people were really interested in what I was doing.” A. Recherche began with a leather cuff adorned with the carefully curated piece of an antique brass metal ruler. When people began requesting custom orders, Shapiro knew that she was on to something.


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Each piece from A. Recherche is true to its namesake (“rechercheis French for ‘exotic, rare, or obscure.’)  To the designer, leather and metals have a personality of their own.  She calls the rawness and natural quality of leather paired with polished metal a “perfect marriage.”  When asked about her favorite found material, Shapiro can’t settle on one. Exploring each material, and discovering what it will allow itself to be, is an enjoyable interaction.  For example, different metals are more or less malleable and the grain of a piece of wood determines what design will take shape. She enjoys this process, bringing her own vision and meeting it with the design potential of the material.


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Empowerment is the theme of A. Recherche.  “Warrior meets modern woman meets function, fashion,” says Shapiro. The stamped words and phrases speak to women’s strength and experiences, “something that they can identify with in their life.”  Certain pieces are created for the purpose of forming community and offer part of the proceeds to charity organizations.  She currently works with A Love for Life, an organization that raises funds for Pancreatic cancer research.  “The best mission is to not only create things that women feel strong wearing,” she says, “but also supporting each other in our past and our future.”  Eventually, Shapiro plans to create designs that speak to other widespread issues.  She envisions women forming connections by wearing her jewelry, recognizing each other’s bracelets stamped with the phrases ‘Me Too’ and ‘Survivor.’


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Shapiro, an avid writer, former off-Broadway actress, and teacher, has expressed herself creatively throughout her life.  A common thread throughout each experience, from taking to the stage as a child to her current design work, is empowerment and connection. Of our busy, information driven world Shapiro feels that shared experience is forgotten.  “We are taking in so much information that has very little to do with us on a personal, deep level.”  Personal power and expression are at the core of her creative pursuits. She sees them as a way to create connecting threads that people can draw to their own stories.


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The launch will take place inside of “The Barn,” an eclectic space sounds like a perfect setting for the A. Recherche shopping experience. Philadelphia-based clothing line Plume and Thread will be joining the party at each date.

For the future, Shapiro plans to continue making custom orders and release a new collection every few months.  Each launch will be limited edition and unique.  Join the A. Recherche mailing list for a VIP first look at each collection.  Be the first to find your new favorite piece:

Thursday October 25, 6-8pm

Friday October 26, 6-8pm

Saturday October 27, 10-4pm


4658 Old York Road

Buckingham, PA


A. Recherche

Plume and Thread


images: A. Recherche instagram