Anne Murray
Anne Murray is the Artist Curator of Cloud 9 Pavilion, Bangkok Biennial 2020-21 and lives in Budapest, Hungary.
She is both an American and Irish artist educated at Parsons School of Design in Paris (BFA), at Pratt Institute in New York (Master of Fine Arts and a Master of Science in Art History), and at The College of New Jersey Global Studies Program in Mallorca, Spain (Master of Education). Her work combines thoughts about Quantum mechanics, philosophy, poetry, song, photography, video, movement, and installation. She finds curiosity in the movement and stillness of rocks, octopuses, and trees. She is concerned with understanding multiple universes and perceptions happening simultaneously.
She advocates for a tectonic shift in perception and the upending of pre-established focal points to work towards a goal of meliorism and harmony in an environment shared with all matter. She has participated in exhibitions around the world including in Cf@The Research Pavilion, Venice Biennale, curated by Jeanette Doyle, and the Mediterranean Biennial of Contemporary Art, Oran, Algeria. She has published articles in Happening Media Magazine and Arts and International Affairs, the official journal of the Policy Studies Organization and of the Institute for International Cultural Relations at The University of Edinburgh.
She is both an American and Irish artist educated at Parsons School of Design in Paris (BFA), at Pratt Institute in New York (Master of Fine Arts and a Master of Science in Art History), and at The College of New Jersey Global Studies Program in Mallorca, Spain (Master of Education). Her work combines thoughts about Quantum mechanics, philosophy, poetry, song, photography, video, movement, and installation. She finds curiosity in the movement and stillness of rocks, octopuses, and trees. She is concerned with understanding multiple universes and perceptions happening simultaneously.
She advocates for a tectonic shift in perception and the upending of pre-established focal points to work towards a goal of meliorism and harmony in an environment shared with all matter. She has participated in exhibitions around the world including in Cf@The Research Pavilion, Venice Biennale, curated by Jeanette Doyle, and the Mediterranean Biennial of Contemporary Art, Oran, Algeria. She has published articles in Happening Media Magazine and Arts and International Affairs, the official journal of the Policy Studies Organization and of the Institute for International Cultural Relations at The University of Edinburgh.
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Delete MeMoving in a fluid line in all directions, I scramble across the page, once again at a point where someone is insisting that I write the words, any words that flow from my hand through a pen, even though I am not comfortable with a pen, with paper, where they intersect. I am so tired of it, so tired of trying to explain, of having to build myself up the courage to insist to explain that my fingers do not work this way, that my hands are made for drawing not printing or for consistent cursive lines. I am angry, upset, sick of people who try to push me into a box, I can’t breathe now and I feel isolated, ostracized, because I tried to explain my reasons, how I feel, tired of being judged for the very quality that makes me able to draw anything, anything at all in the most exciting way, the very fact that I can’t write consistent cursive lines or lines of printed letters, is what makes my drawing beautiful, amazing full of life and energy. I won’t, I won't let your narrow-minded point of view betray my talents, my voice, my way of moving and expressing myself.
I love to write. I love to create words with this keyboard, which sets me free from the movement required for predictable print. Now I am feeling so sick of the narrow point of view of others of people who don’t understand and say things like artists should be able to print, or that it is an exercise and this has to be done only one way, this is troubling to me. I am a creator, there is no one way, there is no one solution, there are infinite solutions, as Stephen Hawking said of the double slit experiment, the particles do not move in predictable paths, but in every possible path, the universe has all possible histories, this is what it is to create, this is what it is to be me, to see physics, to understand it and to live by it. Quantum physics, this is what troubles me, how important particle physics is and yet, so much of what we do ignores it, takes away the beauty of the awareness of it. When I read Leonard Mlodinow and Stephen Hawking's book, The Grand Design, I felt that, finally, I had met someone that understands me, someone that I feel connected to on a level above a single particle. Anne Murray |
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The universe has all possible histories.
Darkness, airless space, a silence that is an expression of infinite depth, calm and sleek, unaware of my own boundaries, I still move. A flash, then silence, but there is light and then an ominous and lucid moment of clarity, of something having passed me by. I continue around it, orbiting the edge of this unknown threshold into a new dimension. I hold on at the speed that the light moves, I believe that I have a color, a kind of luminous green.
Then, there is a change, a metamorphosis, the light falls from me, I am slowing down, I am more aware of each second. I am afraid and awestruck, somehow grateful, and falling – a completely new sensation, a new me. I travel, I feel, I am something. I wonder what has happened. I begin to affect others like me, by running into them. I see something, an echo of what I was before, a light and then I realize that I am witnessing the moment when everything slowed down, I am passing it by as I shift in space and reattach myself to the light. I try to grab on, but I am still falling, it is glorious, and inescapable. There are others here, they see me and share my sense of wonder, gleefully traveling through the airless vacuum that surrounds them.
Silence, I can hear it, I can hear silence.
Anne Murray
Darkness, airless space, a silence that is an expression of infinite depth, calm and sleek, unaware of my own boundaries, I still move. A flash, then silence, but there is light and then an ominous and lucid moment of clarity, of something having passed me by. I continue around it, orbiting the edge of this unknown threshold into a new dimension. I hold on at the speed that the light moves, I believe that I have a color, a kind of luminous green.
Then, there is a change, a metamorphosis, the light falls from me, I am slowing down, I am more aware of each second. I am afraid and awestruck, somehow grateful, and falling – a completely new sensation, a new me. I travel, I feel, I am something. I wonder what has happened. I begin to affect others like me, by running into them. I see something, an echo of what I was before, a light and then I realize that I am witnessing the moment when everything slowed down, I am passing it by as I shift in space and reattach myself to the light. I try to grab on, but I am still falling, it is glorious, and inescapable. There are others here, they see me and share my sense of wonder, gleefully traveling through the airless vacuum that surrounds them.
Silence, I can hear it, I can hear silence.
Anne Murray
Rayuela
I awoke in the night. I saw the moon full like a chrysanthemum before it allows its petals to unfold into fluttering waves, the stiff skirts of ballerinas turned soft. The round ball of blossom, a potential in it and a form so perfectly collected and impenetrable. I wanted to find my way to it, to climb across and up, my camera moving in patterns, I balanced it back and forth in a sway. I had been reading Rayuela, rather more about it, the dream of the insequential, of a reproduction of the process of memory, triggered unexpectedly, unpredictably, an opposite of form. A willful freedom, yet still disguised following a pattern that one does not yet see, an underlying structure of interpretation, a linear grid of space and time, dissolved in the process of movement, liquid and light.
Anne Murray
Anne Murray
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