Made at the same time as No Lies Here, Unmissed Encounter deploys the same highly mineralised pigments across an unusually tall, vertical canvas. Indeed, this painting is effectively an elongated version of No Lies, as if several instances of that smaller painting had been pushed together into a single whole. Once again, the composition invites us to imagine the painting continuing beyond the edge of its canvas support: a never ending grid of cruciforms extending into the space around, as far as the eye can see.
Up close, again we meet - encounter - the now highly elaborated surface, and note how it reproduces something of the bone itself - in particular its internal lattice framework. As remarked upon elsewhere, the semblance is both deliberate, and not simply visual - for the same mechanical function is performed by them both, the paint holding the bone together from the outside at the same time as its honeycomb innards strengthen it from within.
Beyond its functional dimension, this semblance says something about Crowder as a kind of nature painter, taking some at least of his inspiration from the once biological material he has to hand.