C. L. Cunningham’s involvement with non-traditional art began as a child’s basic curiosity with color and materials and quickly grew into the sophisticated mixed media still evolving today. Not only is her technique and approach uncommon, but also the vision responsible for the education and driving passion behind it.
Cunningham studied art history at the University of South Florida, at it’s internationally renowned art school. She developed a mixed media technique outside of the traditional instruction and was invited to teach by several universities by the age of twenty, including the University of South Florida. She chose instead to privately continue her exploration of mixed media. Cunningham is one of those quietly confident artist who approaches art more as an achievement in itself than a cause personal celebration.
Because of the complicated and time consuming way the materials must be used, Cunningham’s technique is not practiced by other artist. Hundreds of combinations and experiments are carefully noted in detail and with sample in the artist’s personal journals. This intense attention to the nature of materials has led not only to the performance and purity of the work, but also to an unprecedented method of layering iridescent, metallic and acrylic pigments.
Cunningham considers this effort and the ongoing study of art throughout history, the most valuable training any artist can undertake, in addition to countless hours of actual work. She describes such discipline as”… the clarity of experience.”
Cunningham juxtaposes realism with the intimate and emotional cues of the surreal. Her images are rendered directly from dreams and the observations of the vagaries of everyday life. This approach incorporates extremely personal impressions from the sub conscience into the work itself, generating an extraordinary exchange of passion between the viewer and image. It also contributes to the enormous mystery of the work.
Cunningham mixed media is highly prized in collections worldwide by private, public and corporate interests, as well as heavily awarded in major competitions. When asked what is her proudest achievement, the artist’s answer is immediate:
All of the collectors of my work own at least two pieces of it, sometimes more. To me this is the highest honor any artist can receive beyond the satisfaction that comes from accomplishing the work itself. It indicates the collector has formed more than just an appreciation for the subject of particular work. A connection to the spirit of the work as a whole has taken place. In my world, there is nothing finer.“