Nina Hunter: Elevating Figurative Art Through Modern Portraiture
- Selfless Art Gallery
- Aug 1
- 6 min read
Updated: Aug 15
Nina Hunter’s creative path is one of evolution — shaped by formal training, commercial success, and ultimately, personal transformation. A Polish-born contemporary painter now based in the UK, Hunter is known for her distinct approach to figurative art, blending classical influences with modern stillness and emotional presence.
Her background in high-profile illustration laid the technical foundation, but it was a return to painting — and a pivotal life shift — that awakened her artistic voice. In this interview, she reflects on her transition to fine art portraiture, the launch of Saltaire Art School, and how painting became not just a practice, but a way to reclaim authorship over her life and work. Whether you’re a fellow artist, curator, or collector, this conversation offers an intimate look into what it takes to build a meaningful, lasting body of work in today’s art landscape.
Q: Let’s start off with a fun icebreaker: If you had the opportunity to have your portrait painted by any Renaissance painter, who would you choose — and what would your pose be?
A: If I could choose any Renaissance painter to paint my portrait, it would be Artemisia Gentileschi. Her work carries such depth and conviction — not only in its technical brilliance but in the strength and presence of her female subjects. As one of the very few women of her time working at that level, she painted with both defiance and grace — qualities I deeply connect with. I would take the pose typical of the women in my own paintings — quietly confident, with a direct yet soft gaze. One that evokes peace, femininity, and soft power.
Q: Can you tell us a little bit about your background and how you became a full-time painter?
A: I’m originally from Sopot, a bohemian seaside town on the Polish coast, where I completed an MA at the Academy of Fine Arts in Gdańsk, specialising in Design and Fine Arts. For the first 15 years of my career, I focused on illustration — working with clients such as Ferrari, Louis Vuitton, and Harrods. While I found a degree of success in the commercial world, a quiet longing to create work with lasting depth and meaning was always present. Following some dramatic changes in my personal life in 2019, I made the decision to devote myself fully to fine art.
Q: Reflecting on your journey — from your academic training through illustration and now to painting — what are some of the most surprising or meaningful discoveries you’ve made about your creative voice along the way?
A: I’ve learned that illustration comes from knowledge and skill, while painting — though it demands both — comes from the soul. They carry entirely different energies: one grounded in clarity, the other in emotional truth.
Though I hold an MA, I consider myself largely self-taught as a painter. The most important lessons came through intuition and slow discovery, not the classroom. And perhaps the most profound discovery is this: that painting holds a responsibility. I often think of Nina Simone and Marina Abramović, and their belief that artists must reflect the times in which they live. Through this lens, I see painting not only as personal expression but as a way to raise awareness, to ask difficult questions, and — when possible — to elevate the human spirit.
Q: In 2020, you founded Saltaire Art School and made the full commitment to painting as your primary practice. What inspired that pivotal decision, and how did it feel to embrace this new chapter after years in illustration?
A: In 2020, my life changed dramatically. My marriage ended unexpectedly, and with it went my sense of security, identity, and everything I had carefully built around the roles of wife and mother. For years, I had made compromises — shelving parts of myself and my creative ambitions in service of family life. But that rupture forced a deep reckoning. In that space of loss, something new emerged: the realization that I could no longer afford to treat my dreams as optional. I made a promise to myself — to never again compromise on my own voice. Where I had once seen a career in fine art as a luxury, I now saw it as a necessity. Not just something I wanted, but something I deserved. Founding Saltaire Art School and devoting myself fully to painting wasn’t just a career pivot — it was an act of reclamation. And from that place, everything started to change.
Q: As we look closer at your paintings, silhouettes stand out as a recurring motif, often evoking the grace and mystery reminiscent of Renaissance portraiture. Can you share what draws you to this visual element and how it contributes to your artistic expression?
A: My paintings offer a reimagining of the feminine. Each figure is an embodiment of energy — an avatar of soft power, rooted in myth. While visually informed by historical portraiture, these subjects transcend classical representations or conventional feminist narratives. I seek to evoke the essence of feminine energy — as a restorative, balancing force in a world still shaped by patriarchal structures. These figures are presiding presences; they do not shout, yet their power reverberates. By dissolving the boundary between material and metaphysical, I create spaces in which the viewer may encounter their own inner icon — a higher self shaped by presence, intuition, and stillness. This is not simply about women being seen; it is about feminine energy being felt, honored, and celebrated.
Q: Alongside that, your work also features moments of abstraction that feel emotionally resonant. Are those elements more instinctual, or do you use them with a specific intention — perhaps to evoke certain feelings or to leave parts of the story open to interpretation?
A: There’s something quietly instinctive about painting these abstract landscapes. At times, it feels less like I’m painting and more as though the work is painting itself — I’m simply the vessel between the canvas and the vision. I fall into a gentle rhythm, as if the brush already knows the way and is guiding me.
These paintings offer a respite between my more aspirational work — a moment where I release all objectives and expectations, and simply stay present until the painting tells me it’s finished.
Q: As we come to a close, building on your extensive experience working with brands, what advice would you offer to artists who are looking to develop and communicate their own unique brand voice?
A: At Saltaire Art School, I have the privilege of guiding young artists — and this is what I tell them:
An artist’s journey has two essential parts. The first is the symbolic “10,000 hours” — the time we spend learning technique, copying the masters, and beginning to understand our own vision through practice and repetition.
The second is where the real magic begins: experimenting, evolving, and finding your unique voice. Never settle. Social media often works against this — especially platforms like Instagram that reward repetition and familiarity.
But to grow as artists, we need the courage to take risks, to fail, and to keep going — because that’s how we stay true to ourselves. Let go of the stifling pursuit of perfection. There’s no such thing as a perfect painting (or a perfect life, for that matter).
Nina Hunter’s practice is a rare combination of discipline and intuition, where technical expertise meets emotional depth. Through her exploration of modern portraiture and contemporary figurative painting, she offers more than aesthetic refinement — she offers presence, clarity, and space for personal reflection. As the founder of Saltaire Art School and a rising voice in the fine art world, Hunter reminds us that the most impactful art often comes not from perfection, but from risk, resilience, and authenticity. Her journey is a blueprint for artists seeking to move beyond surface and style — and toward something lasting.
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