In Come Hell or High Water, Eggebrecht presents eight paintings that act as a cross between atmospheric landscapes and still life. These works are a departure from her previous paintings as Eggebrecht reverses her approach to scale and scope. Here, macro becomes micro. Broad concepts of time travel and the human lifespan become intimate through the artist’s interpretations of nature, experience and emotions. A winter landscape expresses longing, a Gothic cathedral evokes the human skeletal structure and a painterly architectural dig implies the traits of curiosity and investigation. In these works, Eggebrecht casts off acrylic for oil paint, which lends a luminous depth to her carefully constructed scenes.
Eggebrecht employs a wealth of source material, including handmade models of fishing lures, cat’s cradles and lanterns that woven together create an invented space. Meticulously rendered symbols, rooted in Americana, are combined with painterly passages, suggesting a psychological space that is both fantastical and real. Her vocabulary of images is poetic while anchored in the concrete, suspending the viewer between the static depiction of objects and an implied narrative.