Over Zoom, Mary Chomenko Hinckley springs to model her uniform—head-to-toe black, with paint splatters—before spinning the camera buoyantly around her studio. Even over the flattening medium of a video call, it’s clear why the word that trailed Hinckley’s name around Anthology headquarters was uplifting. At age 72, Hinckley’s artwork, too, achieves a kind of ascension. The daughter of Ukrainian refugees, Hinckley hauls weighty issues of politics, war, and the environment into her studio—and into galleries and public spaces that commission her work across the West—where she carves and paints her way toward perspective shift.