Sedimenting (+ Orifice), 2011
Sedimenting (+Orifice), 2011
This is documentation of an installation at the Sullivan Galleries in Chicago, Illinois. The work consists of an organic, sculptural orifice on the wall of the gallery. Inside the aperture is a tiny video depicting tall grass fluttering in the wind. Beyond the orifice, is a small room. The viewer enters the room to a large-scale HD video projection featuring extreme macro images of organic material. The smell of dirt permeates the space in an attempt to dislocate the viewer.
Crewe’s installations explore an otherworldly outdoors. In the video installation ‘Sedimenting’, dirt-caked hands claw at stitched-together citrus rinds. - Laura Pearson; Time Out Chicago
...eyes and orifices, spaces of transition and transmutation exert a powerful force on the subject. It's highly akin to the force of the erotic object as expectant (of the gaze and therefore meaning). - Joel Kuennen; ArtSlant.com
* Variations of this piece have been shown at the Sullivan Galleries in Chicago, IL, Gallery 33 Collective at the Zhou B. Art Center in Chicago, IL and Noble and Superior Projects in Chicago, IL.
Sedimenting (+Orifice), 2011
HD Video Projection, LCD Monitor with HD Video and Stereo Sound,
Telescope, Sculpey, Dirt, Assorted Organic Material,
Olfactory Component (Hunter’s Cover Scent - “Earth”); Variable Dimensions
This is documentation of an installation at the Sullivan Galleries in Chicago, Illinois. The work consists of an organic, sculptural orifice on the wall of the gallery. Inside the aperture is a tiny video depicting tall grass fluttering in the wind. Beyond the orifice, is a small room. The viewer enters the room to a large-scale HD video projection featuring extreme macro images of organic material. The smell of dirt permeates the space in an attempt to dislocate the viewer.
Crewe’s installations explore an otherworldly outdoors. In the video installation ‘Sedimenting’, dirt-caked hands claw at stitched-together citrus rinds. - Laura Pearson; Time Out Chicago
...eyes and orifices, spaces of transition and transmutation exert a powerful force on the subject. It's highly akin to the force of the erotic object as expectant (of the gaze and therefore meaning). - Joel Kuennen; ArtSlant.com