Mike Murray

Created for Assembled at Home. Two colour silk screen on 150 gram cream cartridge paper Size 297mm x 210mm format Landscape. Edition of 25.Price £50.00 Unframed. +£5 P&P UK. For international rates please contact us at goatmajorprojects@gmail.com

Edition 1: Tangerine


Edition 2: Banana


Mike Murray

Assembled at Home/ Cydosod yn y Cartref

12/08/12 – 25/08/12

Private View Sunday/Preifat View Dydd Sul

15.00-17.00 12/08

Open Daily/Agor Bob Dydd 10-00 – 16.00

In Xavier De Maistre’s A Journey Around My Room, published in 1794, a man is trapped in his room for 6 weeks. A space measured as 36 paces long, though he rarely travels in a straight line as he takes numerous short journeys of discovery. This period of incarceration allows him to contemplate the meaning and value of the objects around him. As he looks at engravings and furniture he begins to see them as scenes from a grand voyage, chairs become monumental, while one particular journey involves him travelling north to his bed. Maistre had created a parody of the grand travel narratives popular in the later 18th century. It was a time before the invention of railways an idealistic period before the ability to move around at speed meant distance and time compressed and travel became common place. A Journey Around My Room came back into prominence through Alain de Botton’s Art of Travel, a book that could be found under countless Christmas trees a number of years back. Here the narrative was framed more philosophically as we were invited to contemplate the relationship between a journey through physical space and one travelled in the mind. Both are open to self-improvement while at the centre of both are the parameters of scale. In A Journey Around My Room we learn there is as much information to contemplate in a few metres as there are in 1000 kilometres, if we let the mind be free to wander.

Mike Murray will be presenting new works on paper at GMP from 12/08. Assembled at Home will feature a series ofwatercolours that use the techniques of ‘Free Association’. These resulting observations look at how we define and associate ideas of self-awareness and character traits through the gathering together of what may seem random objects. Our relationships with objects are linked through a process of experience and usage, associated memory and personal preference, the person assembling such groupings is likely to be unaware of the reasons for selection as it is perceived as automatic and beyond conscious knowing. The images Murray has painted appear as extracted and dislocated from their surroundings, the places that bring meaning to their use and purpose are removed. A subconscious dialogue occurs between mute objects and we are invited to contemplate the values for objects that surround us daily.

Mike Murray’s work explores the ideas and processes of Surrealism; the influence of the subconscious in our actions and what exists beneath the thin veil we place over life we mistakenly describe as reality. The resulting work presents a form of dark humour at odds with the delicate and refined process of the watercolour.

At points during the exhibition, Mike Murray will spend time in the gallery responding directly to a book on furniture construction which informed the exhibition. This action will take the form of adding new images to the printed diagrams. These ‘cuckoo’ images will take the diagrams beyond their original meaning.

For Assembled at Home, Mike Murray has worked with the Printhaus’ Nigel Bowles on two print editions that will be available to purchase. All sales of the edition will be supporting the artist and the future program at GMP. This edition is the second in an on-going series that compliment the exhibitions program.

Curated by Richard Higlett

Mike Murray’s Website


Mike Murray explores the use of found objects obtained from the area local to their subsequent exhibition. These objects are chosen for their specific aesthetic qualities and an ability to draw metaphors with broader issues.
Murray’s found objects are assembled together depending on their functionality in the space. Most installations have one recognisable object from mass production as a focal point for the installation. This consumable item usually is bought from a local shop. The imagined journey the object takes is expanded upon in the artwork, backed up by an assembly of other objects.
The ‘finished’ artwork purposely attempts to evoke an element of kitsch, with attempts to question the way we look at design and the process of human intervention.
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