Collage craftsman Jennifer Murphy is roused by interconnectedness. While this intrigue illuminates much regarding her work, it is especially apparent in The Shadow of Sirius, a progression of fragile nature compositions including verdure patterns held together by string. “Wedding the examples of the naturalist with the dreams of the fantasist,” these eye-getting pieces investigate our genuine condition through a dreamlike focal point.
Every one of Murphy’s compositions is comprised of an accumulation of photos that work together to make a greater picture. So as to relevantly delineate the craftsman’s emphasis on the characteristic world, these littler pictures only component creatures, plants, and natural items, similar to sticks, stones, and seashells. Once creatively orchestrated by Murphy, these photographs structure outlines of comparably themed subjects, with butterflies, winged creatures, and branches among her most returned to themes.
Notwithstanding displaying the magnificence of nature, these collections address increasingly existential topics—to be specific, of misfortune. Significant to the craftsman’s close to home life and to the world all in all, this idea has as of late shined a different light on Murphy’s long lasting practice. “In spite of the fact that I have worked in arrangement since I was a kid, I truly started to investigate enormous scale, sculptural collection after the passing of a dear companion and close colleague ten years prior,” she clarifies. “This arrangement comes at some other point of misfortune, both individual and I accept aggregate. We currently live in a period of biological grieving and are in urgent requirement for ways to rediscover trust.”
It is this quest for trust that has roused Murphy to make The Shadow of Sirius, a task that imaginatively sparkles a light on the world’s differing biological systems and, above all, advises us that everything is associated.
In The Shadow of Sirius, craftsman Jennifer Murphy creates sensitive nature collections that mirror “a period of biological grieving.”
These perfect pieces were as of late highlighted in a performance appear at Toronto’s Clint Roenisch Gallery.