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... Amanda Museum ...
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+Tiny Talent (1999-2001)
(click to open gallery)
.Most of the pictures in this gallery are from when Amanda was 4 and 5 years old. We thought the pictures were cute, and so we tried to write funny captions (which are maintained solely for their historical value). But, in hindsight, we can see the beginnings of the more mature talent she now exhibits...as well as an unusual interest in pregnancy and fetuses!
-Starting to really be an artist (2002-2007)
.We gave up on the silly captions when her artwork got good enough to stand on its own.

Fat Fish

(September 2002)

Werking So Hared

(September 2002

Mother Horse and Foal

(July 2003

Pregnant Woman and Sonogram

(July 2003 -- but still thinking about fetuses!

Cougar

This painting of a cougar, done in 2005, was part of a show that her art class did and hung in a ``gallery'' at Just Fresh in Mt. Pleasant.

Duck Stamp

Here you can see Amanda posing near her 2007 "duck stamp" competition entry (it is the top one in the center). It won 2nd prize in the statewide competition.

+Middle School (2008-2009)
(click to open gallery)
.The Charleston County School for the Arts further sharpened her abilities.
+High School Freshman (2010-2011)
(click to open gallery)
.This gallery features some of the pictures she has posted at her DA Gallery.
+High School Sophomore (2011-2012)
(click to open gallery)
.Amanda has been making a lot of amazing art this year, but not giving us a chance to photograph or scan it. So, this gallery is extremely small. We hope to add more soon.
+High School Junior (2012-2013)
(click to open gallery)
.This year Amanda was required to produce only 3-dimensional art. Her concentration was on hats based on buildings that she saw on our travels, but there are some other amazing pieces here as well.
+High School Senior (2013-2014)
(click to open gallery)
.This year Amanda was required to produce pieces that count as "design". She eloquently captures the central theme of her portfolio in this essay written for to accompany AP submission:

While rummaging through my grandmother’s keepsakes, I came across a wooden block for printing the yellow portion of a landscape. Though seemingly insignificant, the block represented my late grandfather, and it sparked curiosity as to how this lone piece of a picture had value without its complementary blocks and subsequent colors. As a result, my concentration analyzes the sentimental value of objects, as well as how this value is affected when the object represents a larger concept or series.

To achieve this, I utilized an aspect of block prints generally avoided, that images misalign and overlap causing details and realism to be lost. In pieces 1, 2, 4,and 10, this print-like detail of the desired image being shifted, is meant to reveal the sentimental value that would have been hidden beneath. In 3 and 9, the photographs that triggered my memories more clearly convey their significance when details are lost, lost like the yellow block of the landscape print. In image 4, the porcelain fisherman is turned three quarters to the left and right to reveal the honest, hard working gardeners in a Japanese Zen garden I visited in Kyoto. Image 5 conveys the endless pleasure of just two children encountering just two chairs. The lack of color in the children emphasizes the chairs. Image 6 utilizes the appearance of a shift to the left of the colors in a single child’s clothing while they play. The objects of value in 7-10 are horses, stained glass windows, tutus, and yellow hats (worn by Japanese children on fieldtrips) respectively. Images 11 and 12 depict foreign children in uniforms first shifted down, and then contrasted by a hornet’s nest throwing into sharp relief the loss of individuality inherent in a dress code.

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