Keith Cunningham’s still life artworks consist of a relatively small contingent of drawings concerned with an understated yet rigorous engagement with form, structure and the act of looking. These restrained, small-sized works are not decorative arrangements but thoughtful studies of object and space. Stripped of embellishment, they reflect an artist deeply concerned with material presence and formal clarity. Cunningham approaches the still life with his characteristic precision. Everyday objects — vases, flowers, fish, fruit — are isolated and composed with care. In his drawings, rendered in quick ink strokes, these forms are reduced to their essential lines and masses. Tone is used sparingly but effectively, creating tension between light and shadow, solid and void. The result is work that is contemplative, sparse and exact.

Everyday objects are presented on empty backgrounds, enhancing the sense of formal focus. These still lifes are not about abundance or symbolism; they are about how things sit in space, how they relate to one another, and how attention transforms them. What links all these works is a commitment to reduction and concentration. Cunningham’s still lifes are meditative rather than expressive. They avoid narrative or metaphor, offering instead a kind of visual discipline, a sustained attention to the ordinary, made extraordinary through observation.