An extension of ‘Gutch’ at Water Philips Gallery in Canada, Julia Crabtree and William Evans have inhabited Cell Project Space, throwing in micro and macro into the mix of sausage come intestine casts and ‘disorder’. Often blurring boundaries in the digital image and reality this exhibition comes together as fragments of previous residency work at Wysing Arts. All encompassing and immersive, the comfortable and squishy shapes are inviting, the carpet a pixellated paradise and pond filled glass providing the definition of a perfect separation between the micro and the macro. The pastel sacks hint to the oversized and obese with their overbearing folds juxtaposing adjacent twiggy lines with legs.
A line is both economical and flexible. At its most basic, it gestures to movement, or delineates the edge of a form. Yet a recent accounting for the line’s expanded history, and by extension, an expanded history of drawing, acknowledges the wriggling of the line off the picture plane and into physical space. In Crabtree and Evans’ Gulch (2016) organic lines become animated through a nod to organic matter; less a marker of movement than a stand-in for bodies themselves.