Moving Art: Jean Cherouny, 87年
<艺术icle class="艺术icle-short">马克·迪彼得罗著
Jean Cherouny, 87年 was an athlete and an 艺术ist from a young age. 在康涅狄格州长大, she had a supportive family who encouraged her to become a “maker,” and she frequently created dolls, 工艺品, 针织, and woodworks with her friends and family.
She was an equestrian and a competitive skier in high school, believing she had a “downhill edge” if she simply continued to build her athletic prowess.
我很高兴, 遗忘的孩子,Cherouny说, “lucky to be able to use sports, 艺术, and movement as a way of growing as a child.”
By young adulthood, though, things had gone downhill—but not in a good way. Cherouny raced competitively in Europe but realized she “wasn’t making it as a ski racer, and I needed help with 学者. It was hard to leave an athletic career behind, but I needed to leave it behind.”
An education consultant referred Cherouny to Landmark College—then still a new, evolving college building its own identity—where she found tactics for dealing with executive function challenges. She was also able to thrive socially.
“People think of 艺术ists as being isolated and in their own world, but at Landmark there was no way I could be that,” Cherouny said during her 学术讲座系列 talk 2017年3月6日. “I loved people, and there were so many activities. Even in classes, we were working together to solve problems and make connections in our brains.”
Cherouny spent a year at LC, then went on to the University of 佛蒙特州, where she earned a bachelor’s degree in 艺术 and education. 晚些时候, she earned a master’s degree in fine 艺术s from Johnson State College and is now an 艺术ist and member of the Generator makerspace in Burlington, 佛蒙特州.
“The methods that I primarily use include painting, digital, and drawing,” she says. “I employ an experimental process using my rollerblades directly on the canvas as a conduit to my emotions and body which allows me to externalize the ideas that were 上一页iously internalized.”
It’s only fitting that in adulthood, Cherouny has melded two of her primary interests and has become known for her rollerblade 艺术. “Motion is always p艺术 of my work,” she says. “It’s how I perceive the world—I see motion everywhere. I still struggle with executive function, but it can help you to learn to trust that 下一个 step. Art evolves, and it requires you to take risks, dive in, and see where the 下一个 step leads you.”
Thirty years after attending LC, Cherouny is seeing her own strengths embodied in her two daughters: Anneke, 21, is a photographer currently attending the San Francisco Art Institute; and Abi, 17, is an Alpine ski racer entering her senior year of high school.
Cherouny, through her 艺术, is still exploring ideas of identity, 工艺品manship, and kinetic energy. Her 艺术ist’s statement at the Generator synthesizes her mission:
“值得一看的艺术, 值得拥有, may look simple at first glance, but must be complex enough to invite a second glance, 第三个, a hundredth and become a p艺术 of our story. We have all had the experience of visiting a museum to encounter a painting. Maybe we have known for years from prints, reproductions or 艺术ifacts, that if we know it by he艺术 so we can remember a story? We can look again, and see unexpected nuance, hidden detail, new forms of energy.”