Blood Orange Telepathy (2020), flashe, polyvinyl acrylic, ink, and colored pencil on canvas, 60" x 48".

Amie Cunat

M.F.A. '12

Blood Orange Telepathy (2020), flashe, polyvinyl acrylic, ink, and colored pencil on canvas, 60" x 48".

A Bold, Buoyant View of Color

By Elisa Gallaro

Japanese American artist Amie Cunat (M.F.A. '12) is known for her unabashed use of color to explore, entice, and question. With hues too bold to ignore, Cunat draws visitors to paintings and installations that challenge popular assumptions about subjects as diverse as nature, abstract structures, and Shaker design.

Cunat's work reflects her interests, including spiritualism, biomorphic form, and the horror movies she has loved since childhood — especially those involving creatures that "are both unrecognizable and akin to us. We are our own enemy," she says.

A room with lime green walls and yellow trim features a yellow and pink rocking chair, a coral-colored side table, and a round yellow and pink rug.

Foyer (2018), installation view of Meetinghouse exhibition (2018), cardboard, washi paper, paper, acrylic, milk paint, flashe, gouache, dimensions variable, Victori + Mo, Brooklyn.

A woman, dressed professionally in a black collared shirt, stands in front of a white wall and looks at the camera.

Amie Cunat, headshot. photo / Neena Cunat Heitz

Regardless of the piece, count on Cunat's buoyant application of color. "I am not afraid of it," she says. Instead, Cunat is intrigued by the way "something that we consider a constant will shift radically in response to its surroundings." For example, the same green will look different at the edge of a painting than at the center, and different again next to a brighter version of the hue. "Nothing else can shift like that," she says. "Color's relativity has always been very exciting to me."

Cunat's command of color was on full display in Meetinghouse, a critically recognized installation presented in 2018 in New York City at Victori+Mo, now known as Dinner Gallery. The work transformed the space into striking adaptations of a Shaker meeting house and Shaker craftmanship. Cunat furnished a blazing bright yellow foyer with replicas of a Shaker rocking chair, candlestand table, peg rails, and other interior features. A congregation room, painted in brilliant blues, was outfitted with equally meticulous touches.

The installation led to an artist residency and solo exhibition at the Shaker Museum's historic site in Mount Lebanon, New York. Her installations have been covered in publications including Galerie, Vogue Italia, The Coastal Post, Metal Magazine, ARTnews, and the New York Times, which described Meetinghouse as "the highlight" of an 11-gallery exhibition.

Cunat has also been an artist in residence at galleries in Kofu, Japan; the Studios at MASS MoCA in North Adams, Massachusetts; and, most recently, Yaddo, a retreat for artists in Saratoga Springs, New York. She has been awarded grants and fellowships from the New York State Council on the Arts and the New York Foundation for the Arts. She has also been a Visiting Artist at The Cooper Union in New York City. Since 2013, Cunat has been on the faculty of the Visual Arts Department at her alma mater, Fordham University, in New York City, where she earned a bachelor's degree in visual arts and art history. 

Two turquoise cords hang from the ceiling in a room with teal and dark blue walls.

Congregation Hall (2018), installation view of Meetinghouse exhibition (2018), cardboard, washi paper, paper, acrylic, milk paint, flashe, gouache, dimensions variable, Victori + Mo, Brooklyn.

Cunat was born and raised in the Chicago suburb of McHenry, Illinois. She chose Fordham for her undergraduate studies, in part, because she wanted to be closer to the artists, galleries, and museums of New York City. After Fordham, she honed her craft at the School of the Art Institute of Chicago, earning a post-baccalaureate certificate in painting and drawing while applying to graduate programs.

Cornell's M.F.A. program offered everything Cunat was looking for: a competitive program in a highly respected university and the opportunity to return to New York State. Her Cornell teaching assistantship introduced her to painter and professor Carl Ostendarp, whose mentorship continues to have a meaningful impact on her as an artist. Graduate seminars increased her awareness of social issues, prompting Cunat to examine her views on identity and her experience as a Japanese American. The private studio, weekly student exhibitions, and discussions with peers and visiting artists all provided opportunities to grow and experiment. 

Since graduating from Cornell, Cunat has had exhibitions at Dinner Gallery, DIMIN, Eric Firestone Gallery, Sunroom Project Space at Wave Hill, and DC Moore Gallery (all in New York), and Peep Projects (Pennsylvania), among others. She lives in New York City with her husband, Piotr Chizinski (M.F.A. '13), and their daughter. Cunat is a frequent lecturer, panelist, and visiting critic.

Projects


Recent Paintings (2020–22)

An abstract painting with curving blue and black lines outlining areas colored in red, pink, or orange.

Pixie (2022), flashe on linen, 14" x 22".

Pixie (2022)

Abstract painting with dark purple, blue, and pink color palette.

Plume in Plum with Minty Prickles (2021), flashe, gouache, and ink on canvas, 20" x 16".

Plume in Plum with
Minty Prickles
(2021)

An abstract painting with a dark color palette consisting of red, navy, yellow, brown, and pink.

Midnight Channels (2021), flashe and ink on canvas, 60" x 48".

Midnight Channels (2021)

An abstract painting with an orange, yellow, and green color palette.

Candle Wood, Coach Whip (2021), flashe on canvas, 36" x 42". 

Candle Wood, Coach Whip (2021)

An abstract painting with a brown, peach, and green color palette.

Blood Orange Telepathy (2020), flashe, polyvinyl acrylic, ink, and colored pencil on canvas, 60" x 48".

Blood Orange Telepathy (2020)


Petal Signals (2021)

Two colorful, abstract paintings adorn a wall in a gallery.

 Installation view of Radical Spurred (2021), Blossom Rhapsodic (2021), Dinner Gallery, New York.

Radical Spurred (2021), Blossom Rhapsodic (2021)

An abstract painting, featuring yellow swirling lines on a black background with an orange border, hangs on a wall in a gallery.

Installation view of Iron and Neon Barbed (2021), Trumpet in Garnet (2021), Dinner Gallery, New York.

Iron and Neon Barbed (2021), Trumpet in Garnet (2021)

An abstract painting with various shades of blue and a smaller painting of a flower, using various shades of green, hang on a wall in a gallery.

Installation view of Sparks, Torrent, Prickle (2021), Mr. March (2021), Dinner Gallery, New York.

Sparks, Torrent, Prickle (2021), Mr. March (2021)


Checkerbloom (2021)

A painting of an orange- and yellow-colored flower hangs on a wall to the left of an abstract, warm-colored wall painting.

Installation view of untitled (2020), Peep Projects, Philadelphia.

untitled (2020), installation view

Three abstract paintings hang on a white wall.

Installation view of Globes and Propellers (2020), Rampion Arms (2020), Plume in Plum with Minty Prickles (2021), Peep Projects, Philadelphia.

Globes and Propellers (2020), Rampion Arms (2020),
Plume in Plum with Minty Prickles (2021)

A blue and purple abstract painting hangs on a white wall, above a red and orange motif painted near the bottom of the wall.

Installation view of Plume in Plum with Minty Prickles (2021), Peep Projects, Philadelphia.

Plume in Plum with
Minty Prickles
(2021)


Meetinghouse (2018)

A wall is painted in various shades of purple and blue.

Congregation Hall (2018), detail, cardboard, washi paper, paper, acrylic, milk paint, flashe, gouache, dimensions variable, Victori + Mo, Brooklyn.

Congregation Hall (2018)

Two turquoise cords hang from the ceiling in a room with teal and dark blue walls.

Congregation Hall (2018), installation view, cardboard, washi paper, paper, acrylic, milk paint, flashe, gouache, dimensions variable, Victori + Mo, Brooklyn.

Congregation Hall (2018), installation view

Turquoise artificial candles sit on a green shelf that hangs from a purple coat rack.

Congregation Hall (2018), detail, installation view, cardboard, washi paper, paper, acrylic, milk paint, flashe, gouache, dimensions variable, Victori + Mo, Brooklyn.

Congregation Hall (2018),
detail

A room with lime green walls and yellow trim features a yellow and pink rocking chair, a coral-colored side table, and a round yellow and pink rug.

Foyer (2018), installation view, cardboard, washi paper, paper, acrylic, milk paint, flashe, gouache, dimensions variable, Victori + Mo, Brooklyn.

Foyer (2018),
installation view

A pin candle in a yellow candle holder sits on a small pink side table in front of a yellow wall.

Foyer (2018), detail, installation view, cardboard, washi paper, paper, acrylic, milk paint, flashe, gouache, dimensions variable, Victori + Mo, Brooklyn.

Foyer (2018), detail


Hideout (2016)

An installation art exhibit features orange, fuchsia, and dark purple abstract shapes painted on the walls and a purple grid-like tapestry hanging from the ceiling.

Installation view, flat latex paint on wall, cardboard, paper, washi paper, acrylic, dimensions variable, Sunroom Project Space at Wave Hill, Bronx.

Installation view

Close-up view of a purple grid-like tapestry hanging in an art installation.

Installation view, flat latex paint on wall, cardboard, paper, washi paper, acrylic, dimensions variable, Sunroom Project Space at Wave Hill, Bronx.

Detail

Close-up view of a fuchsia grid-like tapestry hanging in an art installation.

Installation view, flat latex paint on wall, cardboard, paper, washi paper, acrylic, dimensions variable, Sunroom Project Space at Wave Hill, Bronx.

Installation view


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