Ukraine

"Ukraine" Oil on Canvas, 2022-2023
This painting was inspired by a French news photo (from the previous Russian incursion) that just wouldn't let me go. Painting it gave me the opportunity make changes in the soldier's position and emphasize the yellow and blue in the background, portraying the biblical and contemporary references it stirred so strongly in me.

Zero Feet, Zero Inches

A datamosh video employing materials sourced from historic footage at archive.org. This piece features a performance of Variations V by John Cage, with the Merce Cunningham Company and Apollo footage from NASA. Sound created on a modular synthesizer, using recordings of John Cage as foundational elements. This work is linked to Bell labs Mosh through the common thread of Stan Vanderbeek, who created imagery for the original Variations V performance, which was broadcast in West Germany. Video and sound synthesis by Timothy Nohe.

FIELD STUDIES

ANDREA HUPPERT STATEMENT Much of my work is a response to my love of nature. I like to explore the tension and harmonies between abstraction and realism in a variety of mediums to fuel my creative response to relationships we have with our natural world and with each other. By using symbolic natural images among an opus of shapes, lines and colors, I try not to simply reproduce these objects and their environment but to portray the energy and emotions they evoke.

The Women Suite

The Women Suite comprises four collages inspired by a vintage German etching featuring women of diverse ethnicities. The original etching depicted the women facing forward, with fig leaves covering their genitalia and with a thin red line marking their body measurements. Notably, the white German female was given elitist treatment. In these collages, the original heads and bodies are modified to more contemporary women figures, emphasizing equality, strength, and individuality.

Presence in Absence, Part 2

These paintings begin as encounters in landscapes, particularly those marked by geological “deep time.” They bear witness to human interventions in the landscape, and to our interactions with the non-human world. Such interventions reify systems of control and speak to notions of access — specifically, who has access to nature. Portions of the picture plane seem to be torn away or excised, revealing flat passages of chromatic grays, blacks, and browns. These interruptions and barriers prevent the viewer from fully entering or navigating the space.

Falling Off the Edge of Nebraska - Writing

The Falling Off the Edge of Nebraska installation includes text not only in the work and videos, but a series of short stories published together in a book of the same title. Like the exhibiton, which changes in each installation the book is published in small editions which include differing stories depending on the show.

There are future plans to publish everything together in a final book combining image and text. The stories are also recorded to audio, read by the author, and played in discreet locations within the exhibtion.

WIN WIN WIN

Win Win Win, was a solo presentation of work by Amy Boone-McCreesh at Peep Gallery in Philadelphia, PA. Borrowing from the aesthetics of lottery tickets, advertising, and working class life, she builds an environment that speaks to the absurdity inherent in socioeconomic systems. Recurring brick patterns appear within works on paper and custom ottoman seating, alongside good luck charms and garlands. Amy’s work examines who has access to beauty (sometimes determined simply by one's view out their window), and how architectural elements can signify wealth.

Cloth Napkin Sampler Series

Amy Boone-McCreesh’s newest works on paper borrow size and format from cloth napkins, all measuring roughly 20” x 20”. The domestic sphere has been a consistent source of inspiration for her, as she continues work to visually untangle notions around decoration as it relates to the ways we inhabit spaces and hone visual taste. Sewing samplers of the 18th and 19th centuries have also become centers of interest in Boone-McCreesh’s new work. Samplers were not only a way to practice domestic skills, but also to display what a woman had to offer a spouse or household.

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