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The portal comes off the wall and onto the floor, as the flatness of painting becomes a bottomless pit.
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Mountains of paint raised like geological strata from canvas surround a spotlit absence, referencing a 1960s pop song's summary of a Zen Buddhist view of the process of enlightenment.
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The aestheticized forms of various color theories and colorspaces replace the trippy, geometric op-art of blacklight posters. They still provide a way for pop culture artifacts to let us reach a higher level by meditating on color experience.
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One of the Portal series, this one a portal with a deep black center.
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One of the Portal series, this one a portal with a deep black center.
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One of the Portal series, this one a portal with its shape defined by its bounding edge.
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One of the Portal series, this one a portal with its shape defined by its bounding edge.
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A second magic portal, a passage to some other world. Perhaps it connects to the first portal, or perhaps it leads somewhere else.
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A magic portal offering a connection to some other world. Entrance might be an opportunity to escape this world and bring back help. Or perhaps this opening is a vulnerability, allowing something dangerous to pass through to our side.
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A random spatter of paint or an accurate view of stars as they will appear on December 21, 2012, looking southeast from the Egyptian city of Aswan? A series of structures monitors the situation and architecturally mimics it. Ectoplasmic entities hover, each haunting its own solitary perch -- though one has abandoned its post to make a friend.
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Core material leaks from a diagram, attracting amorphous vehicles and protean beings to visit, probe, and feed. A lonely structure offers the opportunity to depart and arrive, and houses at its end a device which can both transmit and receive. Fantasy temples or science-fiction apparatuses rise in the distance.
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The Liberty Cap crowns protean beings as a symbol of simultaneous freedom and other-ness (while being just as much a Smurf's hat or European toadstool). A finite world inside a shell is set up with breakable boundaries to recall a historical print that deals with the scientist/seeker's mystical quest for what might be beyond the beyond.
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A binary-coded, pixel art message to the universe, broadcast in 1974 from the Arecibo Radio Telescope announced our existence and longed for a response. The loneliness of this missive is here surrounded by models of the cosmos and abstract painting passages that wish to become alien entities able to receive the call.
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A cosmic creation myth that emanates from the infinity of the Loch Ness Monster swallowing its own tail. Words from channeled, alchemical languages inhabit the celestial tiers of enlightened, three-eyed Mario clouds. The drips of gestural painting become a double helix, while the materiality of pure abstraction is bottled as a magic potion.
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Images from sightings of cryptids, animals that may or may not exist, live in various levels of obscurity in this landscape. "Heaven", written in Quenya-mode Tengwar, a language created for a people that never existed, is completely obscured beneath a tide of rainbow.
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Medieval Europe's Bigfoot, the Woodwose, sends the Arecibo Message into the cosmos to desperately announce his existence to and invite contact from other worlds. The human cannonball undertakes a dangeous mission of exploration, and various cosmic creatures interact before the visage of the Marlin of the Future.
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The spilling of artistic entrails on top of a patterned materia prima inspires profound and preposterous visions of the cosmos.
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An action painting divination combining Platonic, shell-inside-a-shell conceptions of the universe with middle-school-science-book diagrams of atmospheric layers.
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Ryan Murray, infinipus@gmail.com Curriculum Vitae | Artist Statement
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