Wil Murray

Wil 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 THE ONLYES POWER IS NO POWER (2017), Murray paints directly onto the photographic negative, allowing this mark to evolve, form and ‘blackout’ within the process of exposure and development.

 

Wil Murray (b.1978, Calgary, Canada) lives and works in Berlin. His work was included in the Alberta Biennal in 2015 and 2017, 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’.

 

Recent solo exhibitions include: THE ONLYES POWER IS NO POWER at VITRINE, London (2017); 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 In delity, 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).

 

Murray had a solo booth in Dialogues Art Projects, London Art Fair (2015); has been shown at Papier Art Fair, CA (2013); Art Toronto, CA (2013/2015); and The Manchester Contemporary (2013 and 2017).

 

Selected 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).

Wil Murray, THE ONLYES POWER IS NO POWER, 2017. 2017 Alberta Biennal of Contemporary Art. Installation view. Courtesy Walter Philips Gallery, Banff Centre for Arts and Creativity, CA.

Wil Murray, THE ONLYES POWER IS NO POWER, 2017. Installation view. VITRINE, London. Photographer: Jonathan Basset.

Wil Murray, THE ONLYES POWER IS NO POWER, 2017. Installation view. VITRINE, London. Photographer: Jonathan Basset.

Wil Murray, THE ONLYES POWER IS NO POWER, 2017. Installation view. VITRINE, London. Photographer: Jonathan Basset.

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.

Will Murray, On Invasive Species and Infidelity, 2015. Installation view. Courtesy of The Art Gallery of Alberta, CA.

Wil Murray, Painted Shut, 2013. Installation view. VITRINE, London.

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

An evanescent fix (with Wil Murray), 2015. Installation view. VITRINE, London.

Wil Murray, Die Welt In Farben, 2014. Installation View. Courtesy of p|m Gallery. Photographer: MN Hutchinson.

Wil Murray, THE ONLYES POWER IS NO POWER: Moosejaw to Porcupine Plain, 2017. Ditone archival pigment, print mounted to dibond. 136 x 178 cm. Edition of 2 (1 AP).

Wil Murray, THE ONLYES POWER IS NO POWER: Ituna to Athabasca, 2017. Ditone archival pigment, print mounted to dibond. 143 x 176 cm. Edition of 2 (1 AP).

Wil Murray, THE ONLYES POWER IS NO POWER: Consul to Manyberries, 2017. Ditone archival pigment, print mounted to dibond. 136 x 177 cm. Edition of 2 (1 AP).

Wil Murray, THE ONLYES POWER IS NO POWER: Foremost to Kelvington, 2017. Ditone archival pigment, print mounted to dibond. 138 x 177 cm. Edition of 2 (1 AP).

Wil Murray, THE ONLYES POWER IS NO POWER: Milo to Minton, 2017. Ditone archival pigment, print mounted to dibond. 141 x 175 cm. Edition of 2 (1 AP).

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, Corsaydoo Corsaydoo, 2015. Hand coloured silver gelatin prints, wood, masonite. 28 x 36 x 8 cm. Photographer: Toni Hafkenscheid.

Wil Murray, Corsaydoo Corsaydoo, 2015. Hand coloured silver gelatin prints, wood, masonite. 28 x 36 x 8 cm. Photographer: Toni Hafkenscheid.

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

Wil Murray, Pieces O' Six 2, 2015. Hand coloured silver gelatin prints, acrylic paint, masonite, wood. 76 x 100 x 10 cm.

Wil Murray, Pieces O’ Six 1, 2015. Hand coloured silver gelatin prints, acrylic paint, masonite, wood. 76 x 100 x 10 cm. Photographer: Toni Hafkenscheid.

Wil Murray, Rotten Row 4, 2015. Collaged inkjet prints. 20 x 15 cm.

Wil Murray, Employee Of The Month: February, 2014. Oil on silver gelatin print on MDF frame. 45 x 57 cm.

Wil Murray, Adieu Vielle Europe 2, 2013. Collage and acrylic paint. 27 x 33 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 01. Das griechische Theatre bei Taormina, 2014. Ilford Art 300 fibre based silver gelatine print, hand-tinted with Marshalls photo oils. 43 x 36 cm.

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. 36 x 43 cm (reversed for vertical orientation).

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. 43 x 36 cm.

Wil Murray, Die Welt in Farben. Tafel 04. Salzburg, 2014. Ilford Art 300 fibre based silver gelatine print, hand-tinted with Marshalls photo oils. 43 x 36 cm.

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. 43 x 36 cm.

Wil Murray, Die Welt In Farben, 2013. Limited Edition Book. 29 x 38 cm. Edition of 10.

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

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. 99 x 132 x 25 cm.

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

Wil Murray, Collaged Drape 8, 2012. Multiple exposure photo collage. 27 x 33 cm.

Wil Murray, Please Be Advised: All Items Left Unclaimed After July 3rd 2013 Will Be Destroyed, 2012. Acrylic, photo collage on board. 111 x 188 x 22 cm.

Wil Murray, Head Full of Pidgin Heart Full of Creole, 2010. Acrylic and polyethylene foam on board. 121 x 101 x 30 cm.