From Michelle Grabner’s essay “The Sublime and The Center: Dimensions of Landscape”

PERforations might be the exemplary metaphor for Crown’s overarching oeuvre. These punctuated holes have followed Crown from the beginning when she was recording the South African landscape from a helicopter with a marker and spiral-bound sketchpad in hand. Transfiguring paper perforations into objects gives dimensional form to the concepts of both alienation and of connectivity. Crown is expansive with this motif, building unique perforated sculptures that range from the iconic and intimate to the architectonic. No longer flat, it is difficult to identify function when these paper fringes are enlarged and occupy the three-dimensional world. Yet their odd familiarity, regularity and enclosed pocket of space imply utility. Crown’s protracted use of PERforations is an example of her relentless curiosity into multiple modes of address. Crown spiritedly explores “multiple ways meaning can be represented while avoiding methods of address that, in their exclusiveness and singularity, might well reflect oppressive theoretical and procedural approaches.“(Nicolas Paley, Art’s Place: Experiments in Contemporary Education and Culture, New York and London: Routledge, 1995)

PERforation (-) 4.76, 2015, gilded white gold, 1 2/5 x 25 x 11/5 in., (11 x 193 x 10 cm)

PERforation (-) 1.25, 2015, gilded white gold, 1 2/5 x 25 x 11/5 in.

PERforations, 2015, in gilded white gold, iron resin, and oxidized gilded silver

PERforation (-), 2015,  white, 1 2/5 x 25 x 11/5 in.