Working collaboratively, Crabtree and Evans are known for their process-driven sculpture practice. They incorporate a breadth of traditional and non-traditional materials and modes of making, from casting, glass-blowing and video-making to printing on carpet.
Overlapping process and concept, the artists initiate series of contained experiments with materials and everyday objects. In a new body of ceramic works made for the exhibition a number of mass manufactured objects designed to support the body are appropriated and manipulated across an intricate sculptural enquiry. Embracing the element of chance inherent in casting, firing, glazing and the creation of templates for modular recreation, multiple processes are engaged with to create new objects.
Establishing and breaking the rules of making and of functional objects is also typical of Crabtree and Evans’ work. In another new series, blown glass sculptures are pushed to their material limits with the external forces of gravity and the artists’ own collaborative decision-making playing a leading hand in the final form. The resulting coloured vessels are displayed with their opening—the blow hole used to make them—at their base. Filled with plant-life, the sculptures become a quasi-ecological experiment giving the fragility, decay and concern for entropy that underpins Crabtree and Evans’ work a new level of visibility.
Crabtree and Evans were the recipients of the Nina Stewart Residency award at South London Gallery, the Mary Hofstetter Legacy Scholarship for the New Materiality residency at the Banff Centre, Canada and are Wysing Arts Centre residency alumni. They are currently working on a garden commission for Flat-Time House with Alice Hattrick. Recent commissions include Gulch, exhibited at the Walter Phillips Gallery, Banff and Crutch shown as part of Maximum Overdrive at Focal Point Gallery, Southend-on-Sea. Solo exhibitions include Cell Project Space, London, South London Gallery and Legion TV, London.
Henry Moore Institute
Leeds LS1 3AH, UK