A key early field painting, with a surface of almost archaeological aridity. Indeed, some of the paint is more dust and ash than it is pigment - deliberately so. For here we can see one of Crowder’s first serious efforts to meld his furnace waste with paint across the surface of his canvas. From otherwise unsightly fragments of bone, to the millions of charged particles stirred into the paint itself, the artist after years of thought and experiment finally achieves his unified field: a roughly stable whole somehow greater than the sum of its exceptionally diverse parts.
The extremes which are brought and held together in Leukomorph serve as a model for the aesthetic Crowder goes to develop through the further paintings of the Here Lies series. At the beginning of course, this is primarily a technical process, as Crowder figures out how to corral his rebarbative materials and make out of them paintings which are more than the sum of their parts.
As time passes however, the technical aspect is subsumed by the aesthetic, and while Crowder’s various inclusions - bone obviously being chief amongst them - are rarely completely overcome, they are over time brought into ever closer harmony with his increasingly confident surface.