‘We begin, as always, in a room. A gauze of a brownish tinge reflected off the rectangles around us, though what we can see isn’t known for sure. Uneven geometries and indeterminate shapes seem to take center stage. Between them, we can find some recognizable remnants in the intent of these screens: what might be rocks, trees, a gathering of small skulls. Some of these shapes echo each other, like approximate rhymes. And there’s an insistence in their missed repetitions —despite the silence, there is an urge towards communication; if we could imagine them as sentences, they would be short, simple statements, their wording calm, even, and slightly awkward in the mouth. The words might seem slightly off, might sound like something you know but don’t quite comprehend. A language offshoot, a parallel mime.’¹
Over the past decade Ciarán Murphy has produced a body of enigmatic paintings whose quiet fleeting images and compulsive surfaces have gained widespread recognition. Recently, the subjects within his paintings have become more fragmented 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.
Art critic Luke Clancy calls Murphy’s paintings 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 also of sensing.’²
1. Chris Fite-Wassilak’s, Documentary in A round now (2013)
2. Luke Clancy, Time after Time in A round now (2013)Ciáran Murphy
Since the first solo presentation of Ciarán Murphy’s paintings in Dublin, 2005, Murphy’s work has achieved considerable international critical success, with solo exhibitions at Taymour Grahne Gallery, New York, Kavi Gupta Gallery, Chicago, Douglas Hyde Gallery, Dublin, Zoo art fair, London. Other exhibitions include The line of Beauty in The Irish Museum of Modern Art, Dublin, Paradise Series at the Douglas Hyde Gallery, Dublin and most recently Fieldworks in the Lewis Glucksman Gallery, Cork. Ciarán was born in Mayo, Ireland in 1978 and currently resides and works in Cork.
- - verberg extra tekst