Working within—and subverting—the idiom of traditional figurative sculpture, Kenny Hunter critiques contemporary politics, culture, and belief systems in his deadpan, cartoonish works. “Overall my work can be summarized as an attempt to translate the longstanding historical and political ambitions of traditional figurative sculpture into a revised sculptural language appropriate to the current cultural situation,” he says. “The aim of my work is to question certainties and stereotypes.” The soft edges and monochromatic surfaces of Hunter’s sculptures belie their edgy, unsettling effect. He has transformed forest animals into harbingers of danger and mocked world leaders and pariahs in his shrunken busts. Among his public projects is I Goat (2010-11), composed of a white goat standing jauntily atop a stack of packing crates—a symbol that simultaneously celebrates and mocks the civic spirit traditionally conveyed by public monuments.