Crystal Dyer’s studio is made up of a several small rooms, one leading into the next like a series of dimly lit caves. The ceilings are low and many of the walls are ripped up, exposing puffy insulation and thick metal wires. A large black sheet of peeling wallpaper hangs off the wall; this is Crystal’s newest canvas. Ivory muslin is draped over the corners in the main room, where a candle burns.
To Crystal, a multimedia artist, spaces often act as a representation of the mind, and in this case her space also reflects a great deal about her work. Her drawings indicate a sensibility that is at once methodical and mystical, clinical and expressive. Her current project, “Hypnosis Drawings,” is characteristic of both late 19th century occult practices and medical anthropology (picture a séance held in a doctor’s laboratory). And past projects have similarly involved such a pairing of the spiritual to the scientific. Process isn’t the only objective though—her work, and its primary intention, is based on self-discovery: “It’s a process of knowing, studying and learning myself, ” she explains. Far from self-important, however, her work draws more from Jungian concepts of the self and psychoanalysis than from the pool of narcissism. Her thirst for knowledge is her motivation and what makes her drawings so interesting. She locates a point between spirituality and science that is seldom visited in contemporary art, and her patience with her work, or “experiments,” is remarkable