Around 1995 Crowder began making paintings which featured what he terms his “wound” motif - a scar or split in the surface of the work, built up from some of the thickest layers of paint the artist has ever deployed. The gap or fissure which results emphasises the physicality of the painting: its materiality or objectness, important qualities to this artist. For Crowder is explicit about addressing the individual viewer not solely through their eyes, but more inclusively through the totality of their being, which is their life - in an attempt to intensify appreciation of it. In relation to this overarching objective, the real purpose of Here Lies, his desire to evoke deep human feeling has never been more powerfully - or nakedly - on show.
Rather than anything explicitly theological, this painting’s title is an ironic echo of “I Need Art Like I Need God”, the Tracey Emin exhibition mounted at the South London Gallery in 1997 - although that is where the relation begins and ends. From an art historical point of view, a more plausible reference would be the ‘spatial concepts’ of Lucio Fontana, in particular his signature slash paintings of the 50s/60s.
This painting is also available as a Limited Edition Giclée Print - CLICK HERE