Detail of a copper armature for my new body of work, ILLUMINATION.
In this series of sculptures I am studying line, light, figure and form. Playing with traditional drawing techniques by using blind contour drawings and creating the lines from forged metal. I challenge myself to create the figures from memory and only use one continuous piece of copper or steel to create the outline. The figures are then finished with colorful patinations and covered with a handmade piece of paper that serves as a shade for the LED light nestled within the piece. The warm glow highlights the vibrant teal, green and blue patinations shown above.
These test subjects are almost finished and ready to have paper applied to them!

Q&A POSTURE Magazine

I am so excited to present to you my first Q&A with Annie Malamet from POSTURE magazine. Annie is such a talented writer, she posed both compelling and interesting questions about my concepts and recent video performance RESTRICTION. This interview expands further on my theories of abjection and our human condition.

Posture magazine serves as a platform to share and discus non-traditional artistic thought. The conversations presented in this magazine are not only compelling but progressive covering visual and performative arts. Posture magazine seeks to discus similar themes as I do in my work including identity, sexuality and human behavior.

Please take some of your precious Sunday to check out www.lorencrabbe.com for more work and share this beautiful article with your networks!

More knowledge,
More power.


http://posturemag.com/online/2014/08/01/artist-loren-crabbe-discusses-abjection-trauma-and-the-human-body/

Kate Hamilton in collaboration with Tona Wilson & Jonathan Elliot present “ITS A BIG WORLD OUT THERE”.

This¬†exclusive installation was displayed on July 26th, 2014 for one night only¬†at the CHURCH space provided by the Women’s Studio Workshop located in Rosendale, New York. The interactive scene filled the empty church as the sun set in a warm orange glow. Oversized clothing items made out of nylon were hung on giant¬†pulley¬†systems and strung across the room. Each pulley system had a operator that controlled the strings in order to make the garments move like sails of a ship. This overpowering presence of being overwhelmed reminded Hamilton of the deep blue sea she says. From this¬†nautical inspiration Kate gathered excerpts from Moby Dick¬†that were then projected from all corners of the room.¬†The text projected¬†itself on both the wall and clothing creating a size shift and surrealist twist.¬†Kate Hamilton uses “whale bone as underwire in the lingerie item because they are like the big great whites of the ocean, oversized and great.”

The sound component composed by Jonathan Elliot was comprised of old church hymns and faint organs. They echoed around the room faintly as the noise of the nylon flapping in the wind overpowered the soundtrack with confusion. This encompassing performance misconstrued viewers perception and presented a full bodied experience for all to explore.