“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.