John Murphy, Show your Wound, TEFAF curated, Maastricht, les images

John Murphy

John Murphy

John Murphy
In the Midst of Falling: The Cry… 2016
145.4 x 241.8 cm C-print (Unique), Satin Float Glass and Gesso Wood Frame.

John Murphy

John Murphy

John Murphy
Fall upward, to a height. 2015
Stuffed Black Rooster, rope, pen and ink on publication, vitrine, variable dimensions.

John Murphy
Opened in a Cut of Flesh. 2015
Framed postcard, pen and ink on board. 84 x 62 cm, pen and ink on publication, vitrine, variable dimensions.

John Murphy

John Murphy
Opened in a Cut of Flesh. 2015
Framed postcard, pen and ink on board. 84 x 62 cm, pen and ink on publication, vitrine, variable dimensions.

John Murphy

John Murphy

John Murphy

John Murphy
Fall upward, to a height. 2015
Stuffed Black Rooster, rope, pen and ink on publication, vitrine, variable dimensions.

John Murphy

John Murphy

John Murphy
Cadere: Waste and Cadavers All. 2015
photocopy, gouache, pen and ink on paper. 46 x 54 cm

(…) John Murphy, who is of Federle’s generation, has asimilar respect for art from the recent past. His art resembles a pantheon of signs that transmit poetic experience. He engages with existing works from a modernist body of literature, painting and film, and particularly with a number of ‘authors’ who (re) invented Symbolism (Mallarmé, Magritte, Resnais). His work often comes in the form of delicate objects or images that sit or hang lightly in a space, like a spider’s web or celestial notations. In fact the physical space between the elements in his work is essential and signifies the mental space that opens up when a visitor tracks the (symbolical) lines that connect the elements, and when words, images and associations reveal themselves. Our exhibition features a body of works inspired by the notion of the fall, especially the fall from grace recounted in Genesis, when Adam and Eve are expelled from the Garden of Eden, as famously depicted by the Italian painter Masaccio in a fierce and moving fresco. Masaccio’s painting returns in Murphy’s epic, newly made photograph In The Midst of Falling. The Cry (2015), which derives from a charged image in Joseph Losey’s film Eve (1962), where a woman is transfixed in a hallway before a reproduction of the painting. Murphy is like a dancer aiming for a light gesture, because for him it is the most powerful conduit of experience. His titles, resourceful and full of sillent threat, create a world in itself. (…)