Taste and Privilege was a site-specific exhibition installed at the Cora Miller at York College in Pennsylvania in the fall of 2017. The exhibition contains works on paper, sculpture, custom-seating, and installation. Through this visual vocabulary the show aims to question the roles of privilege in visual taste and the culture of "good" and "bad" taste. The exhibition is sectioned into "rooms" by color and media, culminating in an installation on the back wall titled "The View". Viewers are invited to sit on custom ottomans to look "out" into the space beyond the interior of the gallery. This piece is intended to bring light to what we consider to be of value in our daily lives, one for most is a view of the outdoors, a space which is free. When buying property or reserving a hotel room, the view often comes at a premium.
The exhibition as a whole dances around the idea of aesthetic taste and the way it forms culturally. Maximal installations and works on paper, as well as sculptural forms and intense color combinations are the primary vehicles for the show. 

This collection of works depicts hidden luxury items such as chandeliers, animal skin rugs, bags, candle sticks, and other tropes of existing in an elevated social sphere. The objects that we buy, our assumptions of “good” and “bad” taste, the view out of our windows; these are all markers of social and economic status. I push against cross-cultural ideas and their associations with luxury and beauty. The work evokes ornamentation and formatting of textiles, functional objects, and domestic design. Sometimes garish color and material choices are used as a way to question visual taste. A maximal and decorative aesthetic is partnered with detailed processes often associated with craft and domesticity. 

These mixed media and collage works on paper and sculptural forms made in the last two years. With this work I aim to explore a decorative and maximal aesthetic while employing collage and efficient ways of connecting and folding paper to create organic shaped drawings. The pieces in this category are worked on both sides and then cut and folded to reveal the visual vocabulary on the back. Decisions on compositions are made as more pieces are cut and folded, creating an intuitive process that is rooted in pattern, mark-making, and heavy labor in repetitive paper cutting.

Three-dimensional works on cut paper with mixed media, found objects. Created between 2015 and 2017. This body of works aims to continue my exploration of fusing two and three dimensional works while referencing decoration and the development of abstract spaces. The nature of decorative objects and spaces tend to be highly ornate with details on top of details, these are elements I have incorporated into my visual language. 

A large supplemental component of my work is to create patterns and new imagery by referencing only my own visual vocabulary. The patterns shown here were created using digital collage processes of previous images of my own work. The product is a self referential new image or pattern that then gets printed on vinyl, fabric, or paper to be used again in sculptural forms and installations.

In 2016 I also started a new series that utilizes many of the same principles as the pattern making but results in a singular image. The still life series is a combination of photography and some digital manipulation. The subject matter for the still life photographs are old artworks, studio props, and materials I often use in my studio. 

A series of 2D works on paper that were created through a process of using previous images of my own work, creating digital collages, printing them, and re-working them by hand in a physical way. The works go from digital to physical and back again. Some of this imagery has also turned into patterns that have been printed on custom vinyl and fabric.

Views series:

Architecture appears to us globally in classist ways, through city planning, grand visual details and the views out of windows, manmade spaces define the humans they serve. Decorative clues, small and large, signify power and access. Small details such as Fresh flowers confirm access while a large home, beautiful views, and an expensive car flaunt power. Cultural aesthetics, passed down through families, such as color choices and fabrics in a home are often judged by others perceptions of good and bad taste. All of these aspects tell a story about socio economic positioning. These works on paper are a straight forward explorations of views, while the installation and sculptural pieces embody what it's like to be in a beautiful and maximal space. All works have the goal of questioning our level of access to beauty in our lives and the determining factors surrounding and mirroring our socio-economic status. Living in Baltimore city for over ten years, and being home-centered during the pandemic have helped shaped Boone-McCreesh’s newest View series.

"All that Glitters" was a site- specific mixed media installation, pictured here both at Katzen Art Center at American University, Washington DC and Harford Community College in Columbia, MD.

"All that Glitters" explores the nature of social and visual hierarchy as determined by the importance of gold. Recycled materials, found objects, tape, and paper mache object were combined with formal design elements to create a space that felt visually overwhelming, yet organized.