In ‘I Paint What I Want to See’, Philip Guston talks about the allure of the bounded image. “I can’t rationalize it, I can’t talk about it, but I know there’s an existence on this imaginary plane which holds almost all the fascination of painting for me.” Crowley, depicting overlooked corners, gardens and domestic ephemera, is likewise devoted to the representation of another object- the picture plane. Simultaneously locating his images in and on the surface, he oscillates between image as window and image as premise. ‘Weeds and Mailbox’ further complicates its tensegrity when relocated to a site which echoes its thesis, using its choreography to rivet the visitor in place.

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