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Erin Murray: "Settling"    9. Mai - 15. Jun 2013

Settling (philo-sophia)
Erin Murray
Settling (philo-sophia), 2013
 
  
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Opening Reception May 9th 6-8pm.

Nancy Margolis Gallery is pleased to announce the opening of Erin Murray’s first solo New York exhibition, “Settling”, on May 9, 2013 and on view through June 15, 2013. The opening reception will take place on Thursday, May 9 from 6-8 pm.

Murray’s landscapes take built environments as their subject and formalize their banality as art. The show’s series of graphite and charcoal drawings features Murray’s characteristic austerity and, like the exhibition’s oil-on-panel paintings of unsettling landscapes, examines the real world in a surreal way. Devoid of people, Murray’s landscapes are permeated by an intensity that creates an anthropomorphic connect and imbues their mundane architecture with a significance otherwise unrealized.

Murray skillfully and innovatively employs different approaches to each drawing and painting so that, while the works in “Settling” vary in medium, the show’s mood and theme are consistent. Murray’s drawings are defined by their meticulous execution, striking perspectives, and high contrast, rendering these works near-portraits of the structures they depict, albeit cold and aloof. Through these techniques Murray monumentalizes her subjects, as in the large-scale Body Building (2012, 36"x108"). Intentionally stark, but dramatic, the drawing compels the viewer to empathize with the forgotten structure and find beauty in its symmetry.

The series of paintings offers a different mode of reductiveness. In contrast with Murray’s drawings, the paintings are replete with lush colors, radiantly rendered skies, depth of space, and lyrical, curvilinear forms. Nevertheless, they exude a similar timelessness and theatricality. Through titles such as Settling (potential energy) (2013, 24”x24”), Murray makes oblique references to the scene—the presence of a propane tank, electrical panel and solar array—while alluding to her landscapes’ emptiness, engendering nostalgia and contemplation.

A set of smaller paintings, titled Block Party (2013), likewise exposes the inherent artfulness of everyday structures. Each work hones in on a block-built wall, making abstract compositions of its colors, lines, shapes and patterns.

Interested in both the architectural history from which even the most humble of structures derive, and the cultural and economic realities they represent, the artist seeks meaning in seemingly meaningless spaces. In their precision and quietude, Murray’s works call attention to the oft-overlooked essence of built environments, making us see the extent to which we settle for our surrounds.

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