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Laura Petrovich Cheney (b.1967 Philadelphia, PA) embraces the viewer with the concept that when looking at her work, they are looking at a contemporary composition of something timeless. She is a graduate of Dickinson College, where she obtained her B.A in fine art, and english literature, before acquiring her MFA in studio arts from Moore College of Art and Design.
There is a clear dialogue which the artist is compelled to voice regarding environmental concerns; such as climate change. The medium for her work is the collected detritus left in the wake of violent hurricanes. Her assemblages serve as an archeological record of where we have been and who we were, as shaped by the materials that surround us in our daily lives. Pieces of debris such as the remains from a baby crib, a chair, a door, or house trim find new purpose, and harmony under the skill and talent of the artist. Each piece is meticulously considered for it's texture, color, character, and its relationship to the entire work. Cheney has taken that sense of material history and with an aesthetic drive reconstructs them into something fresh and new, yet at the same time familiar to the viewer. Cheney calls upon her feminist side in fashioning works connected to traditional quilt patterns. The artist states: “There is something about the concept of piecing something together out of chaos into something beautiful and of merit which appeals to my process as an artist. Her overall efforts result in unique works of beauty which are instilled with the residual energy of time, and place, and remind the viewer that art is evolutionary.
Laura Petrovich Cheney (b.1967 Philadelphia, PA) embraces the viewer with the concept that when looking at her work, they are looking at a contemporary composition of something timeless. She is a graduate of Dickinson College, where she obtained her B.A in fine art, and english literature, before acquiring her MFA in studio arts from Moore College of Art and Design.
There is a clear dialogue which the artist is compelled to voice regarding environmental concerns; such as climate change. The medium for her work is the collected detritus left in the wake of violent hurricanes. Her assemblages serve as an archeological record of where we have been and who we were, as shaped by the materials that surround us in our daily lives. Pieces of debris such as the remains from a baby crib, a chair, a door, or house trim find new purpose, and harmony under the skill and talent of the artist. Each piece is meticulously considered for it's texture, color, character, and its relationship to the entire work. Cheney has taken that sense of material history and with an aesthetic drive reconstructs them into something fresh and new, yet at the same time familiar to the viewer. Cheney calls upon her feminist side in fashioning works connected to traditional quilt patterns. The artist states: “There is something about the concept of piecing something together out of chaos into something beautiful and of merit which appeals to my process as an artist. Her overall efforts result in unique works of beauty which are instilled with the residual energy of time, and place, and remind the viewer that art is evolutionary.
No 35 (reclaimed wood) 30 x 30
Deal Breaker ( reclaimed wood) 30 x 30
Heart Centered (reclaimed wood) 30 x 30
The Grass Is Always Greener (reclaimed wood) 10 x 12
Pick Up The Pieces (reclaimed wood) 36 x 18
Megs Delight/New York Beauty (reclaimed wood) 48 x 48
Tennessee Strong (reclaimed wood) 30 x 30
Pen Pals (reclaimed wood) 30 x 30