Deborah Crowe

The picture of the bridge at the start of Deborah's slideshow shows us her infatuation with weaving, architecture, space and

structure. This is what her main idea is heavily influenced by, and made from. It is not surprising when you find out that she is trained in weaving, and she said she uses it to create 3d shapes and environments.

My favorite works of Deborah's are Kibble Palace Small World (20

09), Sidestep (2005), Shift (2000), and Collared (1999). I also quite like her Warp series.

In her work Shift (2000), I immediately made comparisons to Dion Hitchens work Te Wao Nui a Tane (1999). These works by Dion are smaller then Deborah's Shift, however they are similar in how they command space in the room and are constructed with a sort of transparency. Deborah talks about creating a contradiction in the space, and she succeeds in doing so. These lightly made figures are flimsy and transparent but seem to fill the space up. They cast big moving shadows and makes

the space seem quit airy. Although I haven't seen this piece in the flesh I imagine the viewer would feel a little dwarfed, as the three dimensional shapes take on quite a human form. Dion's works do the same in that manor. This work of Deborah's definitely employs her usual tactics of intervening with space, and using weaving.

I really enjoy looking at Sidestep (2005), it's a digital print on pvc mesh. Again Deborah uses a weave (or mesh in this case), and the image itself seems to be woven together as

well. Deborah talks about photography as a way to construct inventional drawings, and this furthers her practice. I think you can see that his is quite an experimental work when you place it along side her other works. Invention is also quite apparent in Kibble Palace Small World (2009). I really like this work, and there is something quite enjoyable to look at about it. As well as invention in these two works, there is a huge sense of intervention. Kibble Palace Small World puts you in a very imaginary spatial place, this really intervenes with the original image. You also get Deborah's weaving again as the window pains collide and intersect.

I liked how Deborah talked about how architecture is just a different scale of bodily containment, and I completely agree with her. You can easily see how the two effect each other in trends and inspiration. The images at the end of Deborah's slideshow really interested me, although I don't think they were works of art. The scaled down and repeated close ups of architecture reminded me of some of Steve Lovette's later works Up - n - dwn (2006), and Tresspass # 17 (2005). These works by Steve also intervene with space and also have a weaving sensation about them.