At times strangely numb, and at other points echoing a modernist affection for the coldest of structures and surfaces, the most recent work by Philadelphia painter Erin Murray certainly doesn’t lack in focus. Murray’s fixation on the bland, eerily coded architecture of American cities reveals an underlying criticism (or slightly tongue-in-cheek reference) to the simultaneous banality and sinister intentionality that exists in the spaces around us. Rather than allowing these ever-present backdrops of contemporary life to fade quietly into the background, she brings them forward in the hopes that the viewer will find the same suspicious significance in each graphic, expertly rendered façade.
Where her graphite works are dark and slightly ominous, the lush, surrealistic landscapes Murray has sketched out are deliciously disorienting. As a group, they reflect a curious interest in space, place and structure—something that might eventually push Murray’s works off the page and into the 3D realm.