Stacey R. Chinn received an MFA in 1998 from Southern Illinois University at Edwardsville and a BFA from the University of Kentucky in 1994. She was a Visiting Assistant Professor and the head of Sculpture at Georgetown College for three years and has been adjunct faculty at both the University of Kentucky and Eastern Kentucky University. Chinn has taught a diversity of studio classes including Sculpture, Installation, 3D Design, Ceramics, Painting, and Drawing.
Chinn has been the recipient of several arts grants from both the Kentucky Arts Council and the Kentucky Foundation for Women. She has shown extensively in group and solo exhibitions and has been a mentor, educator, lecturer, panelist, keynote speaker, juror, and assistant to several internationally known artists. Chinn's work has been featured in Sculpture Magazine, FiberArts Magazine, the Art Now Gallery Guide (Chicago/Midwest), Arts Across Kentucky, The Lane Report, and a number of exhibition catalogs and feature articles in local, regional, and national publications.
Gloria Steinem said, “Writing is the only thing that, when I do it, I don’t feel like I should be doing something else.” I feel that way about making art. My work gives me great satisfaction. It’s a compulsion, and I am obliged to give in.
Like a writer, I edit, arrange, and am quite conscientious about the choices I make, organizing the various parts into a thoughtfully-conceived whole. My works are ordered, often symmetrical, and carefully composed. Each is a marriage of materials, techniques, ideas, and associations that ultimately acts as an instrument for provoking thought. My works are not stories, however, but rather forums for posing questions, or perhaps merely making suggestions. They approach the familiar through the unfamiliar. They are accessible but not obvious, and they are meant to entice.
In a singular work, I seek to establish relationships with the objects and materials I choose, thereby creating connections within the work itself. I also endeavor to offer ironic juxtapositions and play on associations the individual viewer may have. My works attempt to engender an emotive resonance while bringing up issues of industry, domesticity, identity, memory, and the human condition.
In each piece, I aim at challenging and reassigning traditional materials and methods of production. By mingling established approaches to sculpture with unconventional means, along with man-made, natural, and found objects, I invite viewers to reconsider assumptions about how and from what art should be made.
I also pay close attention to detail and craftsmanship and utilize time as a sculptural element just as I do steel, clay, yarn, or wood. With every material or found object I use and each technique I apply, there is a sense of nostalgia, though the works also seem timeless. My works speak both to the past and of regeneration. They make no claims, but merely pose possibilities, and they give me charge to make more.
Background and Education
Traveling and Influences
The Hardest Part of Being an Artist
Community Art Projects