There is an obvious sculptural quality to Crisp’s work. The physicality of the wax, its luster and depth draw you in to it’s delicate layers, embedding bones, insects, and plants, to a state of fossilization. She works from an innate sense of duality; man vs. nature; order vs. chaos; creating a contrast between sharply constructed lines and raw natural elements.
Crisp returns repeatedly to an overlapping circles grid (e.g., the “flower of life”) so that it forms something like her baseline, however complex and detailed. And she isn’t afraid of showing her work in groups which, for the smaller squares in particular, makes them appear almost irresistibly as Persian tiles.
The visual logic of Crisp’s paintings follows geometrical abstraction viewers may associate with mandalas, Celtic patterns, Arabic design, tantric art, Christian stained-glass and illuminated manuscript decoration, among other types. In them, the various fractal and flower forms include the “flower of life,” a many-petaled hexagonal figure comprising evenly spaced, overlapping circles, or the vesica piscis, literally the “fish bladder,” an almond shape made when two circles overlap and the basis of the Christian fish symbol.