SARAH CROWEST
THE GERTRUDE SEQUENCE
3–20 DEC 2014

 

SARAH CROWEST
Anastasia Klose 2014
synthetic polymer paint on linen
30 × 49 cm

SARAH CROWEST 
Bim Crowest
2014
synthetic polymer paint on linen
30 × 49 cm

SARAH CROWEST
Scott Miles 2014
synthetic polymer paint on linen
30 × 49 cm

SARAH CROWEST
Jan Duffy 2014
synthetic polymer paint on linen
30 × 49 cm

SARAH CROWEST
Jacqueline Doughty 2014
synthetic polymer paint on linen
30 × 49 cm

SARAH CROWEST
Mitch Cairns 2014
synthetic polymer paint on linen
30 × 49 cm

SARAH CROWEST
Cay Sophie Rabinowitz 2014
cloth tape on pleather
30 × 49 cm

SARAH CROWEST
Veronica Kent 2014
synthetic polymer paint on linen
30 × 49 cm

SARAH CROWEST
Alexi Glass-Kantor 2014
cloth tape on pleather
30 × 49 cm

SARAH CROWEST
Emily Cormack 2014
cloth tape on pleather
30 × 49 cm

SARAH CROWEST
Nathan Gray 2014
cloth tape on pleather
30 × 49 cm

 

Here begins an art of incremental shifts backwards and forwards – each rectangle presented as a snapshot of phase transition – simultaneously abstract and concrete. These objects are derived from a succession of encounters – formal, material, institutional and social. The Gertrude Sequence emerges from a series of propositions born out of an engagement with the materiality of paint, textile, the properties of support structures and how objects relate to an ‘exhibition’ space. Outwardly, these are formal exercises, realist images without illusions where registration of the process by which the work is made becomes its content. However, (quiet in appearance and made by an introvert) they brim with spectres of encounter and conversation – studio visitors, Belgian linen, shiny pleather, tumbleweed methodology, Sophie Taeber-Arp, soft eyes, et cetera…

In 2013 crowEST was awarded a New Work grant by the Australia Council, and a PhD by University of Melbourne (Victorian College of the Arts) for her practice-led research project An Unaccountable Mass: bothersome matter and the humorous life of forms. In 2008 she was a recipient of the Samstag International Travel/study scholarship and spent a year in Lisbon, Portugal at the mysterious Escola Maumaus in the independent study program.

Recent solo exhibitions include: SELVEDGE, ORDER, RUPTURE, West Space, Melbourne, 2014, A SERIOUS OF OBJECTS, Australian Experimental Art Foundation, Adelaide, 2014, SOFT. HARD. EASY., C3 Contemporary Art Spaces, Melbourne, tumbleweed methodology: a theory of the cycle of things, Craft, Melbourne, 2013, the inexplicable magnetism of an alien object, Margaret Lawrence Gallery, Melbourne, 2012, Letting the Odd One In, Linden Centre for Contemporary Arts, Melbourne, 2010.

Selected group exhibitions include: BETTER, FASTER, STRONGER, Melbourne Art Fair Project Space, 2014, DEEP TIME, TCB, Melbourne, 2014 Assembly: contemporary ceramics, Margaret Lawrence GalleryMelbourne, 2014, Unsettled Sculpture, Sarah Scout Presents, Melbourne, 2013, Loosely Speaking, Gertrude Contemporary, Melbourne, 2013, Cite Radieuse, MAUMAUS Gallery, Alta de Lisboa, Portugal, 2008.