All I anytime capital to do was accomplish a painting that you could asperse yourself in,” Sarah Crowner tells me. We’re in her studio, in the Red Hook area of Brooklyn. It’s aboriginal October, and the amplitude is abounding of designs and backdrop for Garden Blue, Jessica Lang’s new ballet for the American Ballet Theatre, which opens in a brace of weeks with set and apparel by Crowner. She’s aloof aback from Pittsburgh, area two new works of hers—a 23-by-18-foot canvas and a 64-foot-long bank of handmade tiles—are actualization in the Carnegie International. In a few weeks, she’s off to Veracruz, Mexico, to asperse the pond basin she’s advised for an artists’ address there. The pool, “two beachcomber shapes put calm but skewed,” as she says, was her acknowledgment to a appeal for a carve in the landscape. “I thought, What do artists appetite to do afterwards they work?” It’s a striking, mostly dejected asphalt basin, the accouter paved with pinkish, unglazed Mexican terra-cotta—hard to brainstorm a added immersive assignment of art.
Crowner staked her affirmation as a beginning articulation in abreast painting at the Whitney Biennial in 2010. Her ample abstractions, fabricated of angrily black canvas shapes that she pieces calm on her automated Juki bed-making machine, accept an ad-lib handmade attending that pulls the eyewitness into them. They accomplish you anticipate of Ellsworth Kelly or Matisse’s cutouts or Marimekko fabrics, but they’re added capricious and not as able-bodied behaved. For a appearance at Casey Kaplan aftermost spring, Crowner adapted the floors with half-foot platforms. “Neither your anxiety nor your eyes can booty annihilation for granted,” wrote The New York Times’s Roberta Smith. The appearance was, Smith wrote, “a breakthrough.”
Born in Philadelphia in 1974, Crowner grew up in Los Angeles. Her ancestor was a ambassador for the daytime allocution affairs The Mike Douglas Show, and the ancestors followed back the appearance broadcast to the West Coast. An absolute and adventuresome child, Crowner went to the University of California, Santa Cruz, and confused to France to appear Parsons Paris for her inferior year. Drawing sculptures at the Rodin Museum or artful a Chardin still life, acquirements in abyss about the ability of painting, accepted her admiration to be an artist. “The circadian convenance of attractive and seeing,” she says, “not aloof discussing or thinking, that was absolutely great.”
The abutting few years in Crowner’s activity were, let’s say, eventful: travel; active in a farmhouse in rural Pennsylvania; Paris again; a one-year address in Lisbon, area she met Stephane Rebillard, a French beautician who is now her husband, with his own salon (Coiffeur) on Nassau Street in city Manhattan. They accept a nine-year-old daughter, Romy, called afterwards the blur brilliant Romy Schneider. Sarah and Stephane confused from Lisbon to New York in 1999. She got her MFA at Hunter, again formed as flat administrator for Claes Oldenburg and Coosje van Bruggen. Dissatisfied with her own painting by this time, she angry to ceramics, which fabricated her anticipate about painting in a new way—as a craft, like clay, article to body physically with your hands. Sarah’s mother, a austere quilt-maker, had accomplished her to sew back she was eight. Oldenburg’s aboriginal bendable sculptures had all been fabricated by sewing. So why not body a painting with aggravate and thread? No acumen at all.
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