written by Cyanide Seelowe
When I first saw Cheen Pitney's "Glass Blower" sculpture, I found myself entranced not only by the work, but by the effect it was having on me. The dark, humanesque form stands as gracefully and passionately as a musician finding his groove- the only difference between them, it seems, is the warm glow of molten glass writhing delicately at the end of the figure's instrument. The flowing asymmetry of this piece caused me to become deeply introspective, which I find to be an amazing feat. Not only is this an image of a piece of art making art of its own, but it is a virtual object that resides in virtual space- I wonder, then, if the feelings that it evokes are virtual as well? Regardless, I found myself compelled to contact Cheen personally and tell him how I felt about his Glass Blower and the effect that it had on me. By doing this, I was allowed a deeper look into his body of work, and found some pleasant surprises along the way.
After seeing the simplicity of Cheen's Glass Blower, I had foolishly assumed that the majority of his work would be simplistic in nature- in fact, it is quite the contrary. He is actually very enthusiastic when it comes to using prims, and he's not afraid to pile them on if they suit his vision. The result is massively impressive, incredibly articulate sculptures that will command any space that they find themselves in.
Because of the detail and visual movement that is trademark of Cheen's work, he has been commissioned to do a number of sculptures that can be found throughout Second Life, one of the most prominent being a massive sculpture of Icarus (In Roman mythology, a man who constructed wings held together by wax. Consequently, when he flew too close to the sun, he ended up falling into the sea.). You can find this sculpture majestically watching over the land in a Sim by the same name. Additionally, you can find Cheen's work in his gallery, which is playfully dubbed Peacefools.
Icarus (82, 169, 34)
FurNation Vista (216, 149, 24)