Rosson Crow
Estate Between, Sep 18 – Oct 17, 2004

Past: 55 Chrystie St

Installation view, *Estate Between*, Canada, New York, 2004

Artworks

Rosson Crow,
Chiswick House,
2004,
40 × 60 in (101.6 × 152.4 cm)
Oil, enamel and spray paint on canvas

Rosson Crow,
Confederate Concentric,
2004,
50 × 50 in (127 × 127 cm)
Oil, enamel and spray paint on canvas

Rosson Crow,
Assembly at Lord Harrington's: Beyond the Techno-Pagoda,
2004,
42 × 72 in (106.68 × 182.88 cm)
Oil, enamel and spray paint on canvas

Rosson Crow,
Parlor at Rosedown,
2004,
46 × 70 in (116.84 × 177.8 cm)
Oil, enamel and spray paint on canvas

Rosson Crow,
Invitation to a Beheading (Mordacity and His Ilk),
2004,
56 × 84 in (142.24 × 213.36 cm)
Oil, enamel and spray paint on canvas

Rosson Crow,
Analogue Antiquated,
2004,
31 × 36 in (78.74 × 91.44 cm)
Oil, enamel and spray paint on canvas

Rosson Crow,
Merchants and Mariners Lament Over Babylon,
2004,
44 ½ × 56 in (113.03 × 142.24 cm)
Oil, enamel and spray paint on canvas

Press Release

Rosson Crow is a young artist from Texas who takes a digitally-inspired and synthetic approach to history painting. Her interiors, figures and landscapes collide events with space and time folding colors and planes into re-creations of dramatic moments from a made up time.

A medieval procession is visited by Southwest Indians heading into their disco teepee. Lasers out of the sky and neon streaks fall like colored light onto the parlor floor. Mirrors reflect objects of untraceable origin. A dandy with well-formed calves is lost in reverie while the ceiling slips onto the wall behind him.

Approached with laser pointer dissection of space into planes, gradients, and fills, these subjects hover between a painterly and a neo-digital aesthetic, caught also in the history of technique.

"Past is prologue in the paintings; history gives them purpose, inspiration, and ability to dramatize and romanticize what once was.

Since "history" is not a term that can be easily confined to a specific meaning or visual solidification, I attempt to expose the layers underneath.

I am interested in furniture as characters and interiors as spaces that we create imbued with a personal mythology. The paintings tend to flicker in and out of reality, as though these spaces are a momentary convergence of multiple consciousnesses."