tear, in collaboration with Tess McArthur-Dowty. video, galvanized wire, crumpled white trace, postcards, Wye River stones, petrichor scent.
In 2021, Murray relocated to Calgary, Canada. COVID restrictions had mostly lifted in Melbourne, but the emotional trauma had only just begun. International travel was heavily restricted and the plane to Calgary was almost empty Tess stayed in Melbourne, remotely continuing her work as a film maker in isolation. This work is the result of the conversation
I have spent many hours with my face pressed against the glass of planes, cars and trains watching the patterns in the land with elevation and speed. Both the natural and imposed features are shaped and choreographed by elemental events.
Elements an exploration of those patterns and forces.
I use elemental materials in their fundamental states, to define the layers/boundaries/edges, and let the shadows, rust and time weave the serendipity. Hence, in my latest sculpture, I am using weathering steel and the patterns of rust as a base to contrast with the impervious shiny galvanized, stainless, and painted steel. The rust will keep on evolving and growing into a protective patina on the weathering steel it encases, celebrating entropy
Wimmera #2, raindance, 2014
76 x 51 cm, Corten and galvanized wire mesh
The title “elevation”, is a reference to both the architectural scale drawing representation of a façade of a building, and the idea of height, of viewing something from above.
This exhibition is an extension of landscape observations and an exploration of residential architecture and how they are viewed. Both are expressed as stylized architectural plans and elevations made from weathering steel and contrasting painted and polished steel panels, galvanised mesh, stainless steel and aluminium. Shadows rust and time weave the serendipity, while the rust keeps on evolving and growing into a protective patina on the weathering steel it encases. The entropy of architecture.
underbelly, 2017
51 x 76 cm, Corten, bronze wire, paint
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