A Round Now Installation View

A Round Now Installation View

A Round Now Installation View

A Round Now Installation View

A Round Now Installation View

A Round Now Installation View

A Round Now Installation View

A Round Now Installation View

A Round Now Installation View

A Round Now Installation View

A Round Now Installation View

A Round Now Installation View

Press Release

New York, New York(October 21, 2013) – Taymour Grahne Gallery is proud to present A Round  Now, a selection  of new oil paintings and watercolors  by acclaimed  Irish artist Ciarán Murphy, marking the artist’s first exhibition in New York. 

 

Murphy’s enigmatic  paintings  take  their starting point from a wide-ranging and ever growing  archive  of  images  found,  collected and carefully arranged into categories by the artist over the years.  This previously  unseen archive forms the backbone that haunts the finished works. Through a process of editing, erasing, overwriting or simply  replacing  what has been painted  and unpainted,  the work leaves  a sense  that is not quite of loss, or absence, but rather the presence of a non-thing.   Recently, the subjects within his paintings have become more obscured and elusive. The recognizable forms in his earlier work have given way to indeterminate shapes and architectural forms. Although some might be described as abstract, they still feel as if they are, at some point, photographically  derived and “indexically tied to some frozen instant that existed before the painting,” as Chris Fite Wassilak writes in the catalog essay “Documentary.” The sense of dislocation or unease that comes from experiencing Murphy’s work isn’t located in any single image, rather it is an accumulated sense that grows while walking amongst a gathering of his paintings. This perpetual feeling of dislocation  ensures that the viewer can never institute any prospect of having ‘arrived’ or feeling ‘at home.’

Art  critic  Luke  Clancy   refers  to  Murphy’s   paintings   as  spectral   images;   “His  ghost  shapes   and  almost disintegrating  (or  never  even  forming)  objects  come  from  a  place  into  which  we  are  all  heading.  They  are speculative paintings; in that they share with speculative fictions an ability to peer imaginatively into a future and in the act of looking, call that speculation into being. In this, the paintings propose a way to explore figuratively the  limits  of  our  understanding,  to  offer  objects  that  undermine  our  understanding  of  objects,  objects  that dramatize our expectations not just of comprehension, but of sensing.”

 

A 48-page publication  accompanies  this exhibition  designed by Peter Maybury with catalogue  essays by critics Luke Clancy and Chris Fite Wassilak.

 

Kindly Supported by Culture Ireland

 

Back To Top