One of the most intense and impactful of the small bone fields, the fragments used here were selected for their very obvious hue, a haunting greenish colour. This is thought to be derived from the metal copper, an occasional participant in the combustion process. It finds an echo in the copper-hued oil paint to which the individual fragments are adhered.
By way of its title, we learn something of an emergent quality that runs right through Crowder’s work: defiance. This is best expressed in the founding gesture of the entire Here Lies project: Crowder’s refusal to exploit the remains for mere novelty’s sake. From the outset he was convinced there was a way of lifting such charged material to a point beyond self, status or gain - though he couldn’t know its twists and turns, and had to take even the existence of its destination, at least initially, on faith.
Crowder’s defiant attitude we can philosophise as negation, or the negative - the artist is well aware of its power in regard to knowledge and its generation.