Artist Benjamin Cunningham
Congratulations to Benjamin Cunningham for earning his place as a Finalist in the Boynes Emerging Artist Award 7th Edition!
Who are you?
I was born and grew up just outside of Philadelphia, Pennsylvania, in Montgomery County, though I now attend George Washington University and live in Washington, DC. I currently study political science and fine arts with an aspiration for a career in international human rights law specializing in LGBTQ+ demographics. I am motivated by the intersection of politics and the arts and am currently planning an exhibition of Ukrainian art and objects to be presented alongside the NGO “Be an Angel” in Washington.
I have been fascinated by making art since I was very young, but I began to take my work quite seriously during high school. After completing “Denunciation of the Shepherd” as the culminating project of my Advanced Art Class senior year, I had even more drive to further develop my artistic technique and portfolio. Nearly a year after the start of the COVID-19 pandemic, I began collecting medical-themed paper items from the mid 20th Century that influenced a series of works titled “At the Doctor’s Office;” this short series would reorient my work towards a hybrid of Neo and post-pop art where I currently exist today. I am heavily inspired by a cross-over of post-pop and abstract expressionist references within my artwork.
““500,000 UNITS” AND COUNTING”
Latex Paint on Reclaimed Pallet
By Benjamin Cunningham
What inspired you to utilize painting as a medium?
I used to work with primarily graphite pencils; however, I was inspired when I began researching and collecting various hand-painted posters from the mid-20th Century. The flat painting style of the posters and advertisements heavily influenced my fixation on using paint as a medium for graphic design work.
““ALL-NATURAL” (RITALIN)”
Latex Paint on Reclaimed Pallet
By Benjamin Cunningham
How would you describe your artwork?
The term “Post-Pop Art” best describes my work as it focuses primarily on the graphic and commercial theme of Pop-Art originating from the 1960s. However, advancements in technology have expanded the bounds of pop art, allowing artists to access a myriad of novel tools and techniques. For example, I made nearly a hundred different mockups of “The Denunciation of the Shepherd” using ProCreate and an iPad before deciding on the final work. Furthermore, my work parallels contemporary narratives with historical media to invoke reflection upon the presence of commercialism and consumerism in a hyper-digital age.
““BLOSSOM OUR FRIENDSHIP””
Acrylic Paint on Stretched Canvas
By Benjamin Cunningham
Can you discuss the inspiration and thought process behind "Denunciation of the Shepherd"?
After spending nearly eleven years at Christian School, I felt that I was no longer accepted since my sexuality could not conform to the conventional standards of the church. I separated from the church just before entering high school, which left me with a vast expanse of knowledge pertaining to biblical scripture. After three years of wholly coming to terms with my identity, I was able to use such knowledge as a source of inspiration within my artwork. I began to think about the irony of the first testament in regard to god’s promises; however, I did not wish to make a work that would be a blatant critique or call out of such irony within religious teachings. Therefore, I decided to use the altarpiece as a communicative vessel and as a reference of historical significance, offering my contemporary perspective of the church within my commercial style of art.
“Denunciation of the Shepherd” (winning work)
Acrylic Paint on Birch Board
By Benjamin Cunningham
Can you walk us through the technical steps of creating "Denunciation of the Shepherd"?
I created “Denunciation of the Shepherd” over a ten-month period that began in the summer of 2021. My conceptual understanding of the work came from personal experiences within the Christian Church as a child and a sort of infatuation with the religious work of the Northern Renaissance. I used the Roskilde altarpiece in Denmark as a foundation for the shape of my work, breaking it apart into 15 separate panels that could be disassembled and reassembled to various proportions. I was fortunate enough to source most of the birch board panels I used from local Pennsylvanian businesses, though some I had handmade in Brooklyn by the talented Scott Chasse of New York Art Panels.
I would begin by projecting my digital mockups of the works onto the panels, the basis from which I would begin to paint with a predetermined color palette. I work in a ‘color-by-number’ process, taking one color at a time and filling in every space it must cover before moving on to the next. During the painting stages of one panel, I would usually begin prepping another, sanding the birch board grain, and applying multiple layers of gesso as a primer. Ultimately, each painting would be varnished with a matte coating in order to reduce the shine of the paint when under lighting.
“FEBRUARY 10, 1985”
Latex Paint on Stretched Canvas
By Benjamin Cunningham
What do you hope to communicate to an audience with your work?
Most importantly, I hope that I am able to communicate a portion of my life that once wholly composed my identity as it shows the development of self from who I was then to who I exist as today. My identity in terms of sexuality could not fit the mold of Christianity; therefore, with this work, I hope to portray the intersection point between my religious past and artistic present.
“THE DOCTOR”
Latex Paint on Reclaimed Pallet
By Benjamin Cunningham
Have you experimented with other mediums?
Yes, I have experimented with other mediums; however, I usually remain within the painting practice. I am quite consistent with using acrylic paint, but whenever I have access to interior house paint or latex paint, I will use that instead. Nearly all of my works begin as a digital mock-up, so I have some experience with digital artwork and am looking to experiment further with that artistic sector. I have never exhibited my work other than in the format of a painting, though it is exciting to think how I might use technology in presenting future work.
Can you talk about your biggest learning experience during the process of creating your work?
An issue I faced during the creation of “Denunciation of the Shepherd” was that I had difficulty acquiring a semi-circle birch board as the final and fifteenth piece of the altar. Fortunately, I was able to utilize the talent and help of a craftsman in Brooklyn, New York, who was able to build the exact piece I needed. Collaboration and utilizing the help of other artisans and artists in the field are crucial for your own success, and I am grateful for the opportunity to have worked with him.
“ENJOY! “PEPSI-COLA””
Latex Paint on Reclaimed Pallet
By Benjamin Cunningham
Can you discuss your biggest success since starting your artistic journey?
I feel my significant success so far has been having the opportunity to join an independent study with a team of researchers at the George Washington University Textile Museum. For an upcoming exhibition in the following semester, we will curate works from the Corcoran Museum collection and produce works responding to the highlighted textiles. I have a strong interest in gallery curation, and I am grateful that my portfolio allowed me to join such a project.
What projects are you working on currently?
As a George Washington University student, I am expanding my artistic influences and skills by enrolling in various courses exploring digital and 3D mediums. However, more recently, I completed a painting entitled ‘“BE STRONG” NOW ONLY $16.95’ which reflects the divisive dynamic of body image between straight and LGBTQ+ individuals.
“BE STRONG! “NOW ONLY $16.95””
Acrylic Paint on Stretched Canvas
By Benjamin Cunningham
What is your dream project or piece you hope to accomplish?
Over the last few months, I have been dreaming up a concept that involves recreating the interior of a traditional French Catholic Church with large-scale 2D painterly works. I am looking to transform the sculptural and architectural techniques of the building onto flat canvas panels that allude to the stained glass, detailed tiles, ornate stonework, and rose windows of the Gothic period. The panels would create a space where viewers could move freely or even participate in prayer.
As a finalist, do you have any advice for artists who want to submit to awards, competitions, residencies, etc.?
You must prioritize taking high-quality photos of your work to uphold consistent standards, even as an emerging artist. Additionally, I recommend that you apply to multiple art opportunities at a time, for keeping a broad net is necessary in the highly selective environment of the art world.
“CAUTION! “FLAMMABLE””
Latex Paint on Reclaimed Pallet
By Benjamin Cunningham
Lastly, I like to ask everyone what advice they would give to their fellow artists/photographers, what is your advice?
As an artist, always create what excites you, what you are passionate about, for abiding by this will allow for an indefinite source of motivation; art that is void of a process of passion will consequently fail.
To view more of Benjamin Cunningham’s work