West Wing

Cross Section

– Sponsored by TD

Cross Section (2026) looks downward to the subsurface as a shared field of circulation, where what is treated as extractable keeps rerouting relations.

Across six prints and a monitor, the image field is built from magnified soil, larvae, pebbles, and cropped fragments of scientific language. Halftone grain and visible seams make the surface feel reproduced, sampled, and reassembled, like knowledge that arrives in pieces.

Pixelation suggests the work is constantly re-tuning its own frequency to the motion it tracks. The grain reads like recalibration: information coming into focus, slipping out again, brewing in motion rather than settling into certainty. What appears as life and death here is not an event but a remainder, the visible residue of cycles: metabolism, labour, decay, renewal. Rectangular insertions behave like core samples or windows of study, while page margins and white gaps read as a refusal of total access, a reminder that extraction can measure, classify, and remove, but it cannot take hold of the whole field.

Across the series, the ground is not a backdrop but a system: brood chambers, pebble collections, bundled cables, and clipped captions offering different languages for how matter is organized and made to travel.

Timothy Yanick Hunter’s ongoing research treats migration as more than the movement of bodies. Migration appears as ongoing circulation: fragments carried forward, reassembled, and re-tuned, moving through archives, infrastructures, and informal networks of passage. Extending from projects first developed for exhibitions at Cooper Cole Gallery and Bradley Ertaskiran, Cross Section asks what becomes legible as “resource” and what kinds of relation keep gathering at the edges of extraction. It asks not simply what lies beneath, but who gets to name what is underneath, and what refuses to be given over to ownership, enclosure, or the “complete” account.