助理教授菲利普·布恩汀分别于 1989 和 1997 年,在肯尼索州立大学和亚特兰大艺术学院获得 心理学和美术本科学位。 2002 年,在斯托尔斯的康乃狄克大学获得绘画方面的美术硕士学位。 在 2005 年入职肯特州立大学之前,布恩汀在康乃狄克大学、东康乃狄克州立大学、奎纳博格 谷社区学院和缅因艺术学院教授各种水平的绘画、油画及艺术诠释课程。 当前,他在肯特州 立大学沃伦特兰伯尔校区教课。 他的作品在国内各地区展出,包括:布鲁克林当代罗伯特亨 利展、纽约和亚特兰大等地展出。

随着时间的流逝，我发现自己迷上了创作艺术作品，这能带给我复杂和有待完善的体验。 这种非凡的兴趣中也包含着哲学因素，因为我当时直接受到哲学解释学影响，尤其受到约翰·卡普托关于基础解释学的观点影响。 卡普托提醒我们人类固有经验的困难和复杂性，并鼓励继续追求和大胆猜测物质存在的奥秘。 我希望我的作品也能在经验上提供相同的视角，使观赏者能够通过这琢磨不透的作品意识到，我们关于复杂现象的解释和理解虽有启发性但并不完全，譬如说，我的作品能时刻接受重新评论。 为了这一目的，我的画作语言力争於寻求一种模糊区域，一种介于图像的语言和生物科学语言的图画之间的区域。 在这种安排下，我首先在寻找一种视觉连接，一种体现反应。 这种关系是比喻性质的暗指在试图理解这非凡的世界时，我们的努力和局限性。 简单地说，我希望了解我们究竟是如何向复杂性妥协的，以及在某种程度上复杂现象究竟是如何让我们难以把握。 通过使图片飘忽不定，片段处理和复杂程度，或者通过模糊处理，来达到平衡。随后，作品被放在架子上，使其架起靠墙，温柔地提醒观察者：理解的临时性。

Associate Professor Phillip Buntin received undergraduate degrees in Psychology and Fine Arts from Kennesaw State University and Atlanta College of Arts in 1989 and 1997 respectively. He earned a Masters of Fine Arts with distinction in Painting and Drawing from the University of Connecticut in Storrs, CT in 2002. Before joining the faculty of Kent State University in 2005, Buntin taught courses in all levels of painting, drawing and interpretation of the arts at the University of Connecticut, Eastern Connecticut State University, Quinebaug Valley Community College, and the Maine College of Art. Currently he teaches at Kent State University’s Trumbull campus in Warren, OH. His work has been exhibited nationally and regionally and is currently exhibiting with Robert Henry Contemporary in Brooklyn, New York and {Poem 88} in Atlanta, GA.

Over time I have found that I am captivated by creating artworks that offer experiences that are complicated and incomplete. This is a phenomenal interest as well as a philosophical one, as I am directly influenced by philosophical hermeneutics, particularly John Caputo’s notions on radical hermeneutics. Caputo reminds us of the difficulty and complexity inherent in all human experience and seeks to encourage remaining driven and interpretively open to facing up to the mystery of existence. It is my hope that my focus offers the same perspective experientially, allowing my viewers to realize through the elusive that our interpretations and understandings of complex phenomena are illuminating yet incomplete, and as such, are always open to reevaluation. To this end, the language of my drawings seeks to find an ambiguous space between the language of drawing and painting with the language of biological and scientific representations. In their arrangement, I am looking for a visual connection first, an embodied reaction. This relationship is metaphorical and is used to allude to our strivings and limitations when seeking to understand the phenomenal world. Put simply, I am interested in how we come to terms with complexity and how complex phenomena always, on some level, elude our grasp. The balance is struck by driving the images to the point of elusiveness, through fragmentation and the degree of complexity, or obfuscation. Subsequently, the works are shelved, propped up and leaning against the wall, as a gentle reminder of this provisional nature of understanding.