“Murray works directly onto the photographic negatives in camera, to interrupt its exposure. This base is then “filled in” by the photograph taken in the other season as they are merged, developed and reformed again by painting over it using his signature-morphed style. Although you can’t make out any figurative elements in the works, you can see the changes in season through the heritage colors used, as well as their play with hot and cold sensations. The works themselves are still developing through its exposure to light; black paint strokes are painted on the glass windows to interfere with the sun’s gaze, thereby disrupting its reaction with the photographic negatives. By using both dimensions of the space – its white walls and the glass windows into which you see through – Murray alters the works’compositions using sculptural devices such as shadow; as the day progresses the work becomes shielded and exposed. Gallery-as-laboratory is brought into notion here as the space is transformed into an experimental camera.”
Wil Murray THE ONLYES POWER IS NO POWER in WhiteHot Magazine by William Noel Clarke. Read more here.
“Wil Murray shadow-boxes with painting and photography in The Onlyes Power is No Power, on display in London until Jan. 2. His installation extends the viewing experience, taking advantage of the unusual space and experimental focus of Vitrine, a long, shallow window gallery. Murray painted black acrylic brushstrokes on the windows that enclose and frame his work. They cast shadows into the display space while echoing the process he used to create his five large photographic prints. These works, shaped by their own inherent brushstrokes, are handsome graphic objects with a baroque sense of overlapping histories, techniques and aesthetics.”
Wil Murray featured in Galleries West. Read more here.
Wil Murray THE ONLYES POWER IS NO POWER featured in artworks 5 exhibitions to see this month by Kate Perutz. Read more here.
“To make the five shaped panels, Murray shot double exposures of ten of those sites, once in the summer, and again in the winter, then painted atop the negatives. His broad brush strokes are so dynamic that they almost obscure that landscape, but the stark slivers of it that he reveals speak to his family’s narrow escape.” Read more here.
“Wil Murray is more influenced by literature than by visual art, a fact made clear by the title of his contribution to the Alberta Biennial.
The Onlyes Power Is No Power takes its name from Russell Hoban’s post-apocalyptic novel Riddley Walker. The phrase encapsulates the main character’s revelation during a séance and, as Murray explains it, means ‘power actually lies in not struggling for power, it lies in giving up the idea of power.'” Read more about Wil Murray at Alberta Biennial here.
Wil Murray will discuss his new body of work THE ONLYES POWER IS NO POWER (2017) which charts two intersecting histories across the Canadian prairies, as part of the exhibition ‘for the time being: 2017 Alberta Biennial of contemporary Art’ on Sunday, 25 June 2017, 2pm. Find more information here.
Wil Murray is included in the 2017 Alberta Biennial of Contemporary Art ‘for the time being’ which runs from 24 June – 10 September 2017. Opening reception on 24 June 2017, 6 – 9pm at the Banff Centre for Arts and Creativity, Alberta, Canada. Find more information here.