Not necessarily a coherent or even factual portrait, the agglomeration gladly swells our preconceptions of the personae of the artist as self aware rather than self obsessed. crowEST instinctively heads towards discomfort or absurdity, recognising it as a generative tool for inspiration. She sets up ideas as armature that allows for the work to come into being raw, rather than emulating contemporary forms of slickness. It is all puttied together really, as one big agglomeration. This shonky, mock-modernist apparatus, however propositional, has at its core a strength that comes from the uncompromising intent of the artist herself, a truly driven need to make and a refusal to accept the limitations of a certain kind of self, artistic or otherwise.
Image: sarah crowEST, installation view, 2007.