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View of “Sarah Crowner,” 2016. On floor: Platform (Terracotta Pentagon Leaves), 2016. On wall, from left: Sliced Red, 2016; Sliced Black Tree, 2016; Untitled, 2016. Photo: Todd-White Art Photography.

Sarah Crowner

Simon Lee | London

View of “Sarah Crowner,” 2016. On floor: Platform (Terracotta Pentagon Leaves), 2016. On wall, from left: Sliced Red, 2016; Sliced Black Tree, 2016; Untitled, 2016. Photo: Todd-White Art Photography.

Having gained wide recognition for sewn canvases and tile platforms that are reminiscent of hard-edge geometrical abstraction and sometimes double as theater sets, in her recent works Sarah Crowner continues combining and recasting modernist abstraction and applied arts, but in ways that evoke the curvilinear forms and colors of nature. The eight sewn canvases and two tile pieces in the exhibition “Plastic Memory” transported the viewer simultaneously into the cool white-tiled Futurist-influenced interiors of Italian designer Nanda Vigo, such as the one she devised for Lo Scarabeo sotto la Foglia (1964), a house designed by Giō Ponti, which gave the title to Crowner’s concurrent exhibition at MASS MoCA, “Beetle in the Leaves,” and the hot landscapes of the Mediterranean, where her glazed ceramic tiles were fired. The slivers of canvas and linen mostly painted red or white in Sliced

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