Printmaking
Lagoon Bug III
Etching, Aquatint and Drypoint on Fabriano paper, 20”x45” – 2017
Lagoon Bugs I
Etching and Aquatint on Fabriano paper, 20”x4/5” – 2017
Island of Petrified Trees
Drypoint on Fabriano paper, 6”x6”– 2017
Guardian Campo San Marcuola
Etching and Drypoint on Fabriano paper, 3”x4”– 2017
Brothers II
Etching and Aqua Tint on BFK paper – 2012
Leading Me On – Little Monsters I
Trace Monotype on BFK paper – 2012
Little Monsters I
Trace Monotype on BFK paper – 2012
Seed Forest
Etching and Aqua Tint on BFK paper – 2009
A Synergy II
Etching and Aqua Tint on BFK paper – 2009
Keeper Goddess–Benevolent Dancer II
Etching and Aqua Tint on BFK paper – 2009
Utopia Of The Mind
Linoleum Relief on BFK paper – 2009
Printmaking Portfolio Exchanges
Venetian Water Queen
Etching and Aquatint on Fabriano paper, 6”x6” – 2017
SASSO, FORBICI, CARTA (Rock, Paper, Scissors).” This group of hand pulled prints and book exchange was made in an edition of 10 at the Scuola Internationale di Grafica Venezia, July 2017.
Stillness, truth, life…
Collagraph, trace monotype, 14”x14” – 2017
2017 Eclipse - The Great American Solar Eclipse of 2017, A Printmaking Portfolio, Curated by Cassandra Schiffler, Boise, ID. A printmaking portfolio themed around personal responses to the 2017 Solar Eclipse.
My family and I stared patiently at one of the greatest solar eclipses seen in Idaho. We gathered at our family cabin below the majestic Sawtooth Mountains and watched this awe, inspiring event. In the remarkable quest to watch and experience the sun in its totality, there was a complete quiet and a memorable stillness everywhere. Objects, trees, bushes, and the ground below sparkled with modeled light waving and churning. Overwhelmed at that moment, I knew what we experienced was the ultimate truth up close and personal.
My Muse
Etching and Drypoint on BFK paper, 10”x8” – 2017
2017 There’s No Press Like Home, A Gathering of Select Alumni of Boise State University Printmaking, Pony-Up Fundraising Campaign Portfolio Exchange, Curated by Jill Annie Margaret, Professor, 2017.
Ethaniel
Reduction Woodblock on Echizen Kozo Paper 11" x 14" – 2016
Ethaniel
Woodcut Drawing
RMPA (Rocky Mountain Printmaking Alliance)
Watershed Portfolio Exchange – 2016
Ethaniel
Ethaniel refers to my first-born son, who took his life on October 4, 2014 following a courageous struggle with an opiate addiction. Ethan was 21. This work is my expression of his essence before and after he died.
Opiate drug related deaths are at current epidemic proportions across the United States. I believe that we can alter the way we think and talk about addiction. Sharing personal stories has the potential to remove our sense of powerlessness and isolation. It allows us to emphasize with the addict and retain our relationship, which provides an important link and strength addicts need to survive in their own struggle.
Through my grief and healing, I have learned that something terrible can turn into something positive. Nothing will bring my son back, yet I refuse to be complacent. As a mother and addiction activist, I choose to honor Ethan for the man he truly was. One way i can do this is by working to remove the negative stigma and the judgements related to this disease and share my story.
This woodblock print is a development of abstractions that evolved from a taboo moth and skull drawing Ethan made prior to his death. I transformed his moth into a deer. In the image, a daisy spreads unconditional love, spirituality, gentleness and an open heart. Its center is a bullet hole, a dark place where a viable choice to live or die is made. Dividing the image visually, is a veil of tears, a filtered watershed falling gently over the surface of the young deer’s face.. In a dream, Ethan told me my tears were like diamonds falling; he said, “they are sparkly and beautiful.”
Curated by Jill AnnieMargaret" after RMPA (Rocky Mountain Printmaking Alliance heading) Thanks!
Contemporary printmaking crosses many boundaries as it seeks to transform and realize a multitude of ideas. This symposium (biannual) seeks to create a dialogue on the transformative nature of contemporary approaches to printmaking; through the exploration of new techniques, innovative directions and concepts, or the creation of new avenues of dissemination. Full information for the symposium can be found on the University of Utah RMPA2019: Transposing Attitudes site
glücklich
(lucky)
Etching (aluminum plate) on BFK paper, 8”X8.5” – 2013
re•MARK•able, Boise Women 1863-2013”, A commemoration through the Boise City Dept of Arts & History (Boise 150 Sesquicentennial) & Wing Tip Press, Curated by Amy Nack
glücklic
An active member of the Idaho Anne Frank Human Rights Memorial volunteer Docent Committee, Rose Beal is a Holocaust survivor who generously tells her remarkable story to Memorial visitors and student groups as often as she is asked.
Rose grew up in Frankfurt, Germany. She was one of 200 of 17,000 Jews to survive a grueling deportation to Poland just before the outbreak of the war. Rose survived harassment, raids and the infamous 1938 Krystallnacht or "Night of Broken Glass." Rose, her mother and younger brothers narrowly escaped death several times. She describes her experiences in Nazi Germany with crystalline detail and attributes her survival to luck. She also relates her experience in a broader context of Holocaust remembrance, the moral responsibility to speak out against injustice and the American immigrant experience.
A frequent keynote speaker and honored guest for education institutions and civic organizations, Rose was the focus of a recent $5,000 OfficeMax Boise Community Fund grant award to the Idaho Human Rights Education Center to develop a video and oral history profiling her story. The project was launched in January (15-29), 2008 at Idaho State University, where Beal described her story of survival in Nazi occupied Germany. Her discussion included a documentary film and educational lesson for classroom use in Idaho’s junior high and high schools.
Statement:
Julie McCreedy chose to highlight Holocaust survivor Rose Beal and spent time with her in person, interviewing and getting to know her better. McCreedy learned that Beal was a just child in Berlin, Germany (1938) during the infamous “Night of the Broken Glass”, when violence against Jews erupted across the Reich. At seventeen, Beal and her immediate family moved to America and arrived in Boise, Idaho in 2004. Beal was adamant in conveying her beliefs and feels it is her moral responsibility to speak against injustice through the Idaho Human Rights Group. She spoke many times in front of live audiences and coveted those intended for school aged children. Beal attributes her survival to pure luck. In her print glücklich (a German term for ‘lucky), McCreedy features Beal sitting in the cup of a good-luck symbol the horse-shoe amongst other symbols carefully measured within the etching.
Printed on the Collophon, inside the portfolio are the artists representations summarized by another Idaho artist, Amy Pence Brown. She said, “Remarkable Women” is an important contribution to our City. It is a portfolio of stories, in written and visual forms, highlighting the lives of a remarkable group of ladies, some of us passed, some of us living, some of us with great things still up our sleeves. That’s a pretty special gift indeed. Happy birthday from all of us, Boise.
Paper Wings
Etching and Drypoint on BFK paper, 8”x8” – 2009