Wil Murray

Murray’s practice explores journeys as transformative mechanisms: how does meaning change as something moves from one point to another? Using a hybrid of photography and painting to highlight the role of an object, he investigates relationships between time and substance. Murray subjects his objects to processes beyond their initial intended purpose. They become a form in space, photographed and modified, and perhaps combined with cutouts and fabric swatches.

In his recent series including  ‘Adieu Vielle Europe’ and ‘Maustlize’ found images of landscapes and interiors are retraced through paint. Further new collage works lay roots in earlier paintings, which the artist redevelops through a series of time-rich processes. In his ‘Collaged Drape’ series, work is repainted and partially obscured with fabric drapes before being photographed in black and white. Murray then recolours the single and multiple exposure prints with photo-oil paint.

“When I need one paint stroke, I make twenty of them on a piece of glass, to be peeled up and applied later. When I need photos, I shoot and print a whole roll of 36 exposures. When I want figures and textures from old magazines I spend a day processing them, cutting out hundreds of possible images. Even labour-intensive weaving is done longer than needed.” Wil Murray.

 

Wil Murray (b.1978, Calgary, Canada) graduated at the Alberta College of Art and lives / works between Berlin and Calgary. Recent solo exhibitions include: ‘SPRAY CAN SEA, OOH BARED ASS, VET HER’, Jarvis Hall Fine Art, Calgary, CA (2016); ‘The Enemies of the Novel’, Back Gallery Project, Vancouver (2015); ‘On Invasive Species and Infidelity’, The Art Gallery of Alberta, CA (2015); ‘Please Boss Remember Me’, VITRINE, London (2014); ‘Die Welt In Farben’ P|M Gallery, Toronto (2014); ‘Painted Shut’, VITRINE, London (2013); ‘Maintain The Ruin’, P|M Gallery, Toronto (2012); ‘Modulations’, Library Cote-St.Luc, Montreal (2012); and ‘Last Summer I Build A 1:8 Scale Model of Your Vagina’, Staatsgalerie Prenzlauer Berg, Berlin (2011).

Group shows include: ‘A Journey from a sweeping gesture to a lasting effect’, VITRINE, Basel, CH (2016); ‘NOT A PHOTO’, The Hole, New York City, USA (2015); ‘Sought’ at Jarvis Hall Fine Art, Calgary, CA (2015); ‘Art in the Home 2’, Contemporary Arts Society, York, UK (2014); ‘The Combinational’, Studio 1.1, London (2014); ‘The Painting Project’, GALERIE DE L’UQAM in Montreal, CA (2013); ‘Made in Alberta Part IV’, The Art Gallery of Calgary, CA (2013); ‘XSTRACTION’, The Hole, New York, USA (2013) and ‘Broadcast, Funkhaus Nalepastrasse, Berline, DE (2012). His work was included in the Alberta Biennale in 2015 and he received an honourable mention in the prestigious RBC Canadian Painting Competition and his work was featured in the Museum of Contemporary Canadian Art’s 2008 exhibition for national top-painters ‘Carte Blanche Vol. 2’. He had a solo booth in ‘Dialogues’ Art Projects, London Art Fair (2015) and has been shown with p|m Gallery at Papier Art Fair (2013); Art MRKT Fair (2013) and Art Toronto (2013/2015) and by VITRINE at The Manchester Contemporary (2013).

Murray will be presented in the forthcoming Alberta Biennale 2017.

Wil Murray, Spray Can Sea. Ooh Bared Ass, Vet Her, 2016. Installation view. Courtesy of Jarvis Hall Gallery.

Wil Murray, Spray Can Sea. Ooh Bared Ass, Vet Her, 2016. Installation view. Courtesy of Jarvis Hall Gallery.

Wil Murray, An evanescent fix, 2015. Installation view.

Wil Murray, Die Welt In Farben, 2014. Installation View. Courtesy p|m Gallery. Photo by MN Hutchinson.

Wil Murray, Painted Shut, 2015. Installation view. London Art fair, Dialogues solo booth.

Wil Murray, Painted Shut, 2013. Installation view.

Wil Murray, Please Boss Remember Me, 2014. Installation view.

Wil Murray, Please Boss Remember Me, 2014. Installation view.

Wil Murray, Please Boss Remember Me, 2014. Installation view.

Wil Murray, Pieces O' Six 4, 2016. Acrylic paint, hand coloured silver gelatin prints, masonite, wood, masking tape, 102 x 100 x 8 cm.

Wil Murray, Maustlize 1, 2015. Hand coloured silver gelatin prints, wood, masonite, 36 x 28 x 8 cm.

Wil Murray, Maustlize 1, 2015. Hand coloured silver gelatin prints, wood, masonite, 36 x 28 x 8 cm.

Wil Murray, Maustlize 2, 2015. Hand coloured silver gelatin prints, hardboard, acrylic paint and wood, 32 x 20 x 8 cm. Photographer Toni Hafkenscheid.

Wil Murray, Pieces O’ Six 1, 2015. Hand coloured silver gelatin prints, acrylic paint, masonite, wood, 76.2 x 101.6 x 10.16 cm. Photographer Toni Hafkenscheid.

Wil Murray, Pieces O' Six 2, 2015. Hand coloured silver gelatin prints, acrylic paint, masonite, wood, 99 x 76 x 10 cm.

Wil Murray, Corsaydoo Corsaydoo, 2015. Hand coloured silver gelatin prints, wood, masonite. Photographer Toni Hafkenscheid.

Wil Murray, Corsaydoo Corsaydoo, 2015. Hand coloured silver gelatin prints, wood, masonite. Photographer Toni Hafkenscheid.

Wil Murray, Pieces O' Six 3, 2015. Hand coloured silver gelatin prints, acrylic paint, masonite, wood, 83.82 x 109.22 x 10.16 cm.

Wil Murray, Maustlize 3, 2015. Hand coloured silver gelatin prints, acrylic paint, masonite, wood.

Wil Murray, Rotten Row 3, 2015. Collaged inkjet prints, 20.32 x 15.24 cm.

Wil Murray, Employee Of The Month: February, 2014. Oil on silver gelatin print on MDF frame, 45.72 x 55.88 cm.

Wil Murray, Adieu Vielle Europe 2, 2013. Collage and acrylic paint, 27.94 x 33.02 cm (Unframed).

Wil Murray, Adieu Vielle Europe 3, 2013. Collage and acrylic paint, 27.94 x 33.02 cm (Unframed).

Wil Murray, Die Welt in Farben. Tafel 02. Junge Frau aus Anticoli, 2014. Ilford Art 300 fibre based silver gelatine print, hand-tinted with Marshalls photo oils, 35.56 x 27.94 cm (reversed for vertical orientation).

Wil Murray, Die Welt in Farben. Tafel 04. Salzburg, 2014. Ilford Art 300 fibre based silver gelatine print, hand-tinted with Marshalls photo oils.

Wil Murray, Die Welt in Farben. Tafel 05. Aus Grindelwald, 2014. Ilford Art 300 fibre based silver gelatine print, hand-tinted with Marshalls photo oils.

Wil Murray, Die Welt in Farben. Tafel 01. Das griechische Theatre bei Taormina, 2014. Ilford Art 300 fibre based silver gelatine print, hand-tinted with Marshalls photo oils.

Wil Murray, Die Welt in Farben. Tafel 03. Spiez am Thuner See, 2014. Ilford Art 300 fibre based silver gelatine print, hand-tinted with Marshalls photo oils.

Wil Murray, Die Welt In Farben, LIMITED EDITION BOOK, 2013.

Wil Murray, Not not trite quotes not not empty politics not not evangelism: it's just not not not the hot and cold running death not not the vanity of the morning's casual mourners, 2012, Acrylic, Photo on Board.

Wil Murray, Why Are You Looking Up Here The Yoke Is In Your Hand, 2013. Acrylic and photo on board, 69 x 115 x 10 cm.

Wil Murray, Painted Shut, Mixed media Installation, 2013.

Wil Murray, Adieu Vielle Europe Triptych, 2013. Collage and acrylic paint, 36 x 29 cm (each).

Wil Murray, 'Adieu Vielle Europe 7' and 'Adieu Vielle Europe 6', 2013. Collage and acrylic paint, 23 x 23 cm.

Wil Murray, Our Garrulous Enemies 1, 2010. Hand-coloured silver gelatin print, 21 x 27 cm.

Wil Murray, Our Garrulous Enemies 2, 2010. Hand-coloured silver gelatin print, 12.5 x 17.78 cm.

Wil Murray, Collaged Drape 5, 2012. Multiple exposure photo collage, 33 x 27 cm.

Wil Murray, Collaged Drape 7, 2012. Multiple exposure photo collage, 33 x 27 cm.

Collaged Drape 8, 2012

Wil Murray, Page 96 Girl, 2011. Photo collage, 25.4 x 20.3 cm.

Wil Murray, Page 109 She's No Girl, 2011. Photo collage, 25.4 x 20.3 cm.

Wil Murray, Page 108 Girl, 2011. Photo collage, 25.4 x 20.3 cm.

Wil Murray, Page 195 Girl, 2011. Photo collage, 25.4 x 20.3 cm.

Wil Murray, Page 672 She's No Girl, 2011. Photo collage, 25.4 x 17.8 cm.

Wil Murray, Page 197 She's No Girl, 2011. Photo collage.

Wil Murray, The Yard, 2011. Photo collage, 27.9 x 22.9 cm.

Wil Murray, Please Be Advised: All Items Left Unclaimed After July 3rd 2013 Will Be Destroyed, 2012

Other Guys, 2011

She Broadcasts Love, 2010

Wil Murray, Call Me Anything Just Don't Call Me Late For Dinner Or Alive and Well, 2010. Acrylic and found images on board, 71.1 x 61 x 7.6 cm.

Wil Murray, Head Full of Pidgin Heart Full of Creole, 2010. Acrylic and polyethylene foam on board, 121.9 x 101.6 x 30.5 cm.

Wil Murray, If You Lived Free Or Died Here You Would Be Home Or Dead By Now, 2010. Acrylic, photographs and polyethylene foam on board, 185.4 x 203.2 x 45.7 cm.