Sub • New Paintings by Melissa Murray • May 2nd - May 27th, 2015
surface, relationships to surface, would we recognize the reverse side of a surface, the below, the sub, the back, what bleeds through?
can we only take everything as surface, as a face?
this wasn’t touched by someone else,
by the writer, the author, the painter, this is only what is read as surface.
misread as being a surface, when actually it is the negative. its positive negative.
what matters most matters enough to bleed through.
the truth that transcends hand. the surface.
the virtual transference of surface creates a non virtual; a real. a film? a substance? like a cut in film, it doesn’t exist in s- pace or time but it defines everything. the surface? the below? back, fine written and read. its
misunderstanding is its translation.
In Melissa Murray’s new series of objects there is a truth that goes beyond the hand, suggesting a filmy other. The surface is filter and restraint. The stretcher’s cross bar leaves puddles on the surface’s under belly remarking on its reflection. The invisible transference combined with the flipping of the surface reveals cosmic traces. The mark is a message, accessible but lost in translation.
Melissa Murray was born in Omaha, Nebraska. She graduated with a BFA from the University of Texas in 2012. She now lives and works in New York City.
can we only take everything as surface, as a face?
this wasn’t touched by someone else,
by the writer, the author, the painter, this is only what is read as surface.
misread as being a surface, when actually it is the negative. its positive negative.
what matters most matters enough to bleed through.
the truth that transcends hand. the surface.
the virtual transference of surface creates a non virtual; a real. a film? a substance? like a cut in film, it doesn’t exist in s- pace or time but it defines everything. the surface? the below? back, fine written and read. its
misunderstanding is its translation.
In Melissa Murray’s new series of objects there is a truth that goes beyond the hand, suggesting a filmy other. The surface is filter and restraint. The stretcher’s cross bar leaves puddles on the surface’s under belly remarking on its reflection. The invisible transference combined with the flipping of the surface reveals cosmic traces. The mark is a message, accessible but lost in translation.
Melissa Murray was born in Omaha, Nebraska. She graduated with a BFA from the University of Texas in 2012. She now lives and works in New York City.
