{"id":19584,"date":"2025-06-20T14:59:03","date_gmt":"2025-06-20T14:59:03","guid":{"rendered":"https:\/\/artoday.net\/?p=19584"},"modified":"2025-06-20T14:59:04","modified_gmt":"2025-06-20T14:59:04","slug":"cheryl-crane-hunter-painting-the-seen-and-the-unseen","status":"publish","type":"post","link":"https:\/\/artoday.net\/?p=19584","title":{"rendered":"Cheryl Crane-Hunter: Painting the Seen and the Unseen"},"content":{"rendered":"\n

Cheryl Crane-Hunter is a multifaceted artist whose work not only captivates the eye but also speaks to something deeper. Her background in art education and her enduring connection to nature have shaped a creative practice that\u2019s both expressive and reflective. She doesn\u2019t just paint scenes\u2014she paints moments of stillness, transition, and spirit. Her work feels like a conversation with the invisible threads that hold our world together.<\/p>\n\n\n\n

Rooted in a belief that creation is guided by something beyond the self, Cheryl\u2019s approach is meditative and intuitive. The brush becomes a tool for listening. Color, composition, and symbolism come together in quiet but charged ways. She often paints by the sea, draws from moon cycles, and carries a lifelong reverence for light. In each piece, there\u2019s a sense of surrender\u2014a trust in the process and what might rise to the surface. Her art reflects a spiritual commitment to beauty, healing, and transformation.<\/p>\n\n\n\n

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\u201cAs the world in the 5th dimension seems to be crumbling around me… I am answering a calling.\u201d<\/p>\n\n\n\n

That\u2019s how Cheryl describes her path right now. Her latest work doesn\u2019t come from strategy\u2014it comes from spiritual guidance. She calls herself a \u201clove and light spiritual painter,\u201d and she means it. These aren\u2019t just paintings; they\u2019re messages, portals, meditations. She chose three works that reflect her connection to composition, chroma, and symbolism\u2014three areas where her inner and outer worlds collide.<\/p>\n\n\n\n

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The first is Full Moon on Topsail Island<\/em>. It\u2019s a monochromatic acrylic painting\u2014quiet, restrained in palette, yet full of layered meaning. To Cheryl, this piece represents the act of calling in helpers from the spiritual world. The moon, especially in its fullness, holds a particular kind of energy. It\u2019s reflective. It\u2019s magnetic. It asks you to trust. In this painting, the moon doesn\u2019t just shine\u2014it whispers. It\u2019s about trusting signs, embracing silence, and opening up to downloads of guidance. The ocean, too, plays its role. She paints the sea not just as scenery, but as presence\u2014a place where magic and clarity meet.<\/p>\n\n\n\n

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The second piece, The Dance<\/em>, carries a different kind of rhythm. Here, the palette opens up slightly. The brushwork takes on movement. This painting is about Lemuria\u2014a concept from myth and metaphysics often described as a peaceful, pre-Atlantean civilization. For Cheryl, Lemuria is less a place and more a feeling: heaven on Earth. In The Dance<\/em>, that feeling comes through as movement between shadow and light. Transparent washes let the forms glow. Shadows give them weight. It\u2019s a dance between what\u2019s visible and what\u2019s hidden, a lifelong exploration of balance through painting. This is where Cheryl\u2019s skill in composition really shines\u2014everything is intentional, yet nothing feels forced.<\/p>\n\n\n\n

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Then there\u2019s Over the Rainbow<\/em>, maybe the most personal of the three. She painted it as her father was dying of cancer. There\u2019s grief in it, but also peace. Cheryl realized during that time that love is the only thing we arrive with, and the only thing we leave with. The painting is a swirl of blues\u2014dripped, dragged, allowed to move freely. The color doesn\u2019t just sit on the canvas; it travels. It carries the idea of passage. Water becomes sky. Pain becomes love. This work was shown at the Wilmington airport in a show called \u201cImplants,\u201d which touched on the idea of migration and settling\u2014how we arrive in a place with our own history and spirit. For Cheryl, this painting carried both her father\u2019s departure and her own sense of belonging to something wider.<\/p>\n\n\n\n

Together, these three pieces are not loud. They don\u2019t demand attention. But they hold space. They carry intention. They ask viewers to slow down and feel their way in. Cheryl\u2019s art isn\u2019t about explaining everything. It\u2019s about opening a window and letting something larger move through.<\/p>\n\n\n\n

In a world that often feels like it\u2019s spinning too fast, her work invites you to pause. To remember the moon, the water, the brushstroke. To trust in signs. And to return, again and again, to what is essential: love, light, and the power of simply being here.<\/p>\n","protected":false},"excerpt":{"rendered":"

Cheryl Crane-Hunter is a multifaceted artist whose work not only captivates the eye but also speaks to something deeper. Her background in art education and her enduring connection to nature have shaped a creative practice that\u2019s both expressive and reflective. She doesn\u2019t just paint scenes\u2014she paints moments of stillness, transition, and spirit. Her work feels<\/p>\n","protected":false},"author":1,"featured_media":19588,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[46],"tags":[],"class_list":{"0":"post-19584","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist"},"brizy_media":[],"_links":{"self":[{"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts\/19584","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=19584"}],"version-history":[{"count":1,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts\/19584\/revisions"}],"predecessor-version":[{"id":19589,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts\/19584\/revisions\/19589"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/media\/19588"}],"wp:attachment":[{"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=19584"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=19584"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=19584"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}