Wicked Wells and Window Wipeouts grew out of several months of studio visits and informal conversations between artists Tristram Lansdowne and Ryan Crowley.  These conversations often orbited around questions of process, language, how subject is formed or avoided, and how to arrive at something that surprises. These recent sculptures and paintings, whose materials are gathered from the visual experiences of our everyday travels, call to mind the image of a scrapper’s overloaded truck. Collecting, indexing and reconstituting material, this “scrapping” allows for a level of play, for shaping subjects into new forms that are slightly unstable, surprising and unknown. In Lansdowne’s meticulously rendered watercolors, images are layered in pursuit of new relationships between surface and depth, resulting in paintings composed almost entirely of framing devices. In Crowley’s sculptures, the object itself is an actively shifting blueprint where the model and object become indistinguishable underneath layers and crusts of process histories.  The object is a site, like a ruin under construction where the scaffolding and architecture have fused into an ancient infant.