Authorities in London have discovered the body of a woman, preliminarily identified as Sarah Cunningham, a talented artist who had been missing since last Friday after a night out.
Cunningham, known for her award-winning painting skills, had just concluded her solo exhibition, Flight Paths, at the prestigious Lisson Gallery in Los Angeles, when she vanished. Despite multiple reported sightings—including one in which witnesses claimed to have seen her entering a car in Camden, a vibrant area of London—police faced challenges in locating Cunningham.
Before the tragic discovery, family and friends took to social media platforms to share fond memories of Cunningham, described as a dearly-loved friend and a brilliant artist. She graduated with a Master’s degree from the Royal College of Art in 2022 and made her mark with her first solo exhibition, The Crystal Forest, at the Lisson Gallery in London last year. At the time she disappeared, she was reported to be wearing a distinctive black dress paired with Converse sneakers.
On the afternoon of November 4, police confirmed in a statement to The Art Newspaper that a body was retrieved from railway tracks adjacent to Chalk Farm station. No additional details were provided as officials awaited formal identification of the deceased. The police authorities have notified Cunningham’s family about this somber development. Currently, authorities are considering the death as unexpected, without any immediate indication of foul play.
A well-respected figure in the art world, Cunningham had showcased her work in various prestigious locations including Aspen, Berlin, London, Los Angeles, and Canada. She maintained a strong collaborative relationship with the Bomb Factory Art Foundation in London and had been represented by Lisson Gallery since July 2023. Although a spokesperson for the gallery declined to comment on Cunningham’s situation, they previously expressed concern regarding her disappearance through an Instagram post urging anyone with information to reach out to the police.
Cunningham’s distinctive painting style, renowned for blending abstraction with fleeting figurative elements, utilized exaggerated brushwork often created with an extended brush made from scraps of wood. This unconventional method stemmed from her habit of painting late into the night—a practice developed while juggling multiple jobs at various galleries, including Nottingham Contemporary, and as a delivery driver during late-night and early-morning shifts.
Frequently rejecting conventional artistic practices, she stated that she avoided preparatory sketches or formal roadmaps in her creation process. In a conversation with interviewer Lee Gordon, she revealed her painting initiation often began on the floor, employing rags and brushes: “I treat the surface of the painting as a palette, the paint is pushed and pulled.”
The catalogue accompanying her inaugural solo exhibition portrays Cunningham as an artist who explores the emotive and living essence of her work through imaginative forests and fluid landscapes. It emphasizes that her artistic endeavors are equal parts abstract innovation and spiritual exploration, aiming to encapsulate the profound, instinctual connection between nature and humanity.
Hailing from the Wollaton area in Nottingham, Cunningham produced a remarkable collection of art that blossomed post her time at the Royal College of Art. Her work drew inspiration from the natural world, encompassing both the urban landscape and the lush jungles of Central America.
Her artistic piece Crystal Forest (2023) was birthed from a residency in Panama in 2018, organized by La Wayaka Current. This residency culminated in transformative experiences that deeply influenced her art, as she reflected on her enriching interactions with the Indigenous Kuna people during a public talk upon her return to Nottingham.
Beyond her environmental themes, Cunningham also operated on a personal level; she recounted to Gordon how working on a commission for a terminally ill individual opened her eyes to the profound impact a painting can have on providing solace and comfort.
In anticipation of her recent exhibition with Lisson in Los Angeles, Cunningham expressed her vision to the gallery: “I imagine myself in flight when I am painting, scanning over the surface, searching for places to deep dive, touch down or lift off. The paintings are journeys between the space of my body and the space of the outside.”
**Interview with Julia Simmons, Art Critic and Close Friend of Sarah Cunningham**
**Interviewer:** Thank you for joining us today, Julia. We’re here to discuss the tragic news about Sarah Cunningham. Can you share your thoughts on Sarah as both an artist and a person?
**Julia Simmons:** Thank you for having me. Sarah was not only an incredibly talented artist but also a vibrant soul who touched everyone around her. Her creativity was remarkable—she had a unique ability to blend abstraction with subtle figurative elements that really drew people in. Beyond her work, she was a loving friend, always supporting others in their creative endeavors.
**Interviewer:** Her recent exhibition ”Flight Paths” was receiving considerable attention, wasn’t it?
**Julia Simmons:** Absolutely. “Flight Paths” was a culmination of her work, showcasing her evolution as an artist. Many expected it to be the launchpad for even more significant achievements. Her style was unlike any other, characterized by her unconventional techniques, like using an extended brush made from scraps of wood. It truly reflected her innovative spirit.
**Interviewer:** Amid her artistic success, she went missing after a night out. It’s deeply troubling. What do you think her disappearance says about how much stress artists may face in their careers?
**Julia Simmons:** It’s a complex issue. Artists often juggle numerous roles and responsibilities, which can feel overwhelming. Sarah worked multiple jobs while dedicating herself to her art, and that pressure can take a toll on anyone’s mental health. Although her disappearance is shocking, it unfortunately highlights the darker side of the creative world that isn’t often discussed.
**Interviewer:** Can you elaborate on the nature of her painting process? It seems quite unique.
**Julia Simmons:** Sarah was never one to follow the traditional rules of art. She often painted on the floor, treating it like her palette. This technique allowed her to engage more physically and instinctively with her work. She mentioned once that she preferred to explore the land of her paintings without a map, letting the emotions guide her. It’s a true reflection of her character—improvisational and deeply intuitive.
**Interviewer:** The discovery of her body has left many shocked, especially considering the police have indicated no foul play is suspected. How do you think the art community will respond to this tragic news?
**Julia Simmons:** The community is devastated. Sarah was a cherished figure, and the outpouring of love and memories we’ve seen on social media is testament to how much she meant to so many. This situation will likely spark conversations about mental health, safety, and support systems in the arts, which is desperately needed.
**Interviewer:** Thank you, Julia, for sharing your insights during such a difficult time. Sarah’s legacy will undoubtedly live on through her art and the memories of those she loved.
**Julia Simmons:** Thank you for focusing on her story. It’s important to remember her for the incredible artist she was and to keep her spirit alive in our discussions.
