John Petrey

'Genevieve' Mixed Media, Found Object Sculpture of a Red Dress

2016

"Nicole" is an artistic take on the 1960's shirtwaist dress incorporating enamel embossed aluminum + steel bottle cap bodice.

The sculpture, "Leah", is an artistic take on the 1960's shirtwaist dress.

The sculpture, "Harper", is an artistic take on the 1960's shirtwaist dress and is made from enamel painted aluminum with a red bottle cap bodice. Dimensions are 26" T x 16" W x 16...

The sculpture, "Camile", is an artistic take on the 1960's shirtwaist dress and is made from enamel painted aluminum with a red bottle cap bodice. Dimensions are 26" T x 16" W x 16...

The sculpture, "Rylee", is an artistic take on the 1960's shirtwaist dress. Made with plastic educational building pieces with repurposed aluminum disks.

Found object sculpture made of red and black patina on copper and aluminum.

Giraffe by JOSÉ JERÓNIMO single piece of art Iron sculpture with use of tools and other objects Measures: 81 x 41 x 15 cm. Private collection.

Giraffe by JOSÉ JERÓNIMO single piece of art Iron sculpture with use of tools and other objects Signed Measures: 81 x 41 x 15 cm. Private collection.

SKYLAR FEIN was born in Greenwich Village and raised in the Bronx. He has had many careers including teaching nonviolent resistance under the umbrella of the Quakers, working for a g...

Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The character of Magdalena Peszkowska's works Series Stand is like an poetic archive of memories, which call for a classification and reconstruction of the time of childhood and the intense experience of time with everything around it. Gdansk - where the artist comes from - becomes a mythical place, This city, with a very strong symbolic potential inherent in its history, needs editing from a single point of view. Magdalena Peszkowska uses her own photos or those from the family album. She transfers them to gray field blankets and camp beds with her own secret technology Then she paints on the used objects. Many of her objects show figures from the closest circle of Peszkowska, often it is herself, her family or places close to her in Gdansk. Her objects have intentional signs of use. The field blankets have a sewn-in wooden bar to hang them on the wall. The field military beds...

Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The character of Magdalena Peszkowska's works is like an poetic archive of memories, which call for a classification and reconstruction of the time of childhood and the intense experience of time with everything around it. Gdansk - where the artist comes from - becomes a mythical place, This city, with a very strong symbolic potential inherent in its history, needs editing from a single point of view. Magdalena Peszkowska uses her own photos or those from the family album. She transfers them to gray field blankets and camp beds with her own secret technology Then she paints on the used objects. Many of her objects show figures from the closest circle of Peszkowska, often it is herself, her family or places close to her in Gdansk. Her objects have intentional signs of use. The field blankets have a sewn-in wooden bar to hang them on the wall. The field military beds...

Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The character of Magdalena Peszkowska's works Series Stand is like an poetic archive of memories, which call for a classification and reconstruction of the time of childhood and the intense experience of time with everything around it. Gdansk - where the artist comes from - becomes a mythical place, This city, with a very strong symbolic potential inherent in its history, needs editing from a single point of view. Magdalena Peszkowska uses her own photos or those from the family album. She transfers them to gray field blankets and camp beds with her own secret technology Then she paints on the used objects. Many of her objects show figures from the closest circle of Peszkowska, often it is herself, her family or places close to her in Gdansk. Her objects have intentional signs of use. The field blankets have a sewn-in wooden bar to hang them on the wall. The field military beds...