This silkscreen print edition draws on Cunat’s ongoing research and reimagining of historical artifacts created by the Shakers - the nearly-extinct Christian sect famous for its celibacy, pacifism, peaceful protest, communalism, and highly functional craftsmanship. Our print collaboration coincided with Cunat’s presentation of Meetinghouse at Victori + Mo, a multi-room installation that reimagined Shaker interiors rendered in pop-inspired neon shades. For Rug, Cunat began by fashioning a Shaker-inspired braided rug with hand-painted details. Photographs that were taken of the piece became the basis for the screenprint. The print dimensions are set at a 1:1 scale to the original rug, which after its reproduction has since been destroyed, leaving the “life-size” print as its proxy.
Amie Cunat (b. 1986, McHenry, IL) is a Japanese-American artist, whose paintings and installations utilize biomorphic forms and vibrant hues to investigate parallels between abstraction and perception. She received her MFA from Cornell University, a Post-Baccalaureate in Painting and Drawing from The School of the Art Institute of Chicago, and her BA in Visual Arts and Art History from Fordham University.Cunat has had solo exhibitions in New York and abroad at Dinner Gallery, Lightwell Gallery, Peep Projects, Victori +Mo, The Knockdown Center, Sunroom Project Space at Wave Hill, The Cooper Union, AIRY Gallery, among others. Recent group exhibitions include Psychedelic Landscape at Eric Firestone Gallery, New York, NY, C+C: Kat Chamberlin and Amie Cunat at Spring Break Art Show in New York, NY, Western Decoy at No Place Gallery in Columbus, OH and Sine Gallery: Berlin at tête, Berlin, Germany. Her work has been reviewed and featured by The New York Times, ARTnews, Artsy, Artnet News, Two Coats of Paint, Bedford +Bowery and Hyperallergic. Cunat lives and works in New York, NY.
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Our typical framing practice is to float mount prints with 1-inch of space around the print. This is a method of framing that keeps the art fully visible in the frame and leaves the edges of the cotton papers exposed. A spacer is added to the frame to keep the artwork from touching the plexiglass. Float mounting requires adhering the print to an acid free foam core back or mat board using acid free linen tape.UV-filtering plexiglass is used for all frames, an option that has become the industry standard. Plexiglass is lighter, scratch-resistant & shatter-resistant (essential for shipping). It also provides more UV protection and less glare than glass. Standard Framing – We work with online framing company Simply Framed to offer three standard framing finishes; White, Natural and Black. For those interested in different finishes beyond these three, they can view the full selection of Simply Framed options and email us prior to purchase, allowing us to provide a quote and finalize arrangements. More about the Standard Framing processPremium Framing – We work with Boston-based fine art framers, Adjective Art & Framing to select specific framing options for each of our invited artist editions. Adjective builds custom-made contemporary hardwood frames for artists, collectors, galleries, and museums. Their standard line of moldings are milled from sustainably sourced hardwoods (often Ash, Maple, Walnut or Cherry) that are then custom stained or lacquered. Adjective backs all their frames with sturdy wooden strainers, reinforcing their structure and allowing their profiles to be narrower - an elegant way to present contemporary prints. For those interested in different finishes beyond those we’ve selected, they can view the full offering of finishes from Adjective and email us prior to purchase, allowing us to provide a quote and finalize arrangements. More about the Premium Framing Process
More information about Custom Framing
