HEATHER E. CROWTHER is an artist selected to exhibit in the sixth Florence Biennale, taking place in December. Although she was schooled in fine art, Heather has embraced contemporary techniques and themes in her work -- along with a deep interest in the relationship between nature and science, as expressed in her use of Sacred Geometry.
She is currently looking for sponsorship to enable her to exhibit in Florence. If you can help in any way, please contact her to find out more. In the following artist's statement, she talks about the themes and principles underpinning her work.
]]> Throughout my work I have been fascinated by the concept of transformation over time, more specifically from one medium or state to another. This has manifested itself in various ways through my use and exploration of different mediums and devices.
My first introduction to this was while studying fine art, where I started exploring the concept of how decay and transformation are inextricably linked. I was and still am fascinated with the ability of turning something that is decaying and at the end of its life in the conventional sense, into an everlasting piece of beauty. Rust has traditionally been considered a sign of destruction and corrosion, often feared by many. Personally I find it incredibly beautiful and poetic in the sense that it has a life of its own and is part of the natural chemistry that is continually taking place in the world around us. For what is generally interpreted as a sign that something that has come to the end of its usefulness, when rust sets in it signals a transformation to a new level where life and growth continues through chemical processes that we, as humans, have little control over.
This sense of change and evolution permeates through other areas of my work, especially in relation to my ultraviolet paintings and installation pieces. These works have a two-fold nature in that they exist as one representation under ‘normal’ light, but when exposed to ultraviolet light they undergo a metamorphosis where specific characters of individual elements transform into something new and different, an effect which has to be taken into account from the very beginning. Additionally, the use of photosensitive ‘memory’ paint in certain areas allows a 3rd different representation to emerge from the same image. It is through this element of change that each image consists of 2 and sometimes 3 different representations, all co-existing in the same artwork and only revealing themselves when certain light conditions are applied.
It is this sense of transformation that has led me to my current single line drawing pieces, where minimalist form is transformed and manipulated through the application of light, reflecting the true essence of the natural world around us. Currently I am exploring new ways that allow for the expansion and fusion of 2 traditional art forms, namely painting and sculpture, where each work is a 3D representation of a 2D line drawing. This creates a raised relief effect physically on the work, which is mirrored symbolically in the depth of perspective generated through the use of line and colour.
These pieces are based on the principles of Sacred Geometry, which is found throughout our world on both a physical and metaphysical level. Additionally, some are influenced by crop circles, which themselves have been based on Sacred Geometry principles.
It is here that I feel they aptly suit the theme of redefining ‘landscape’ and extending it beyond traditional definitions, in that Sacred Geometry is all pervading and underpins the foundations of all life and matter. It is found in everything from a leaf off a tree, to the spirals in a sea shell, to the proportions of the human body, they are all intrinsically linked to the same overall fundamental principles. Additionally, the way each image exists as 2 or 3 different representations, all embedded in the same image, reflects the way physical matter itself has different representations depending on ones perspective: a leaf can appear as a leaf on one hand, or as a depiction of the elements and proportions that make up the leaf itself on the other. Each perspective will create a different representation of exactly the same object. It is in this way that I believe my line drawings reflect the true essence of nature.
In 2006 it will still have a frontier campout quality, and a close, communal pioneering spirit. As the event grows, this will fade. In five years it will be a different experience; bigger and easier with a greater variety of camps. But for now it buzzes with possibility. 
