Megan Murphy, Pilgrim: 2016
The Hanford Reach, a unique stretch of the Columbia River, serves as a backdrop for a series of minimal, monochromatic artworks that explore the art of reflection, both literally and metaphorically. These pieces delve into theological concepts through their creative process and visual presentation.
Murphy’s approach involves capturing ephemeral moments in nature, particularly the flow of a creek in spring, as a metaphor for life's transient experiences. This focus on the immediate surroundings becomes a contemplative practice, reflecting on the interplay of joy, sorrow, and everyday chaos.
The paintings employ an innovative technique of laminating images between glass and mirror, creating a unique interplay of light and reflection. This method allows the artwork to illuminate from within, symbolizing inner reflection and spiritual enlightenment. The layering process, involving the application and sanding of paint and text, mirrors the cyclical nature of spiritual growth and decay.
In contrast, the drawings utilize dry transfer lettering on vellum, creating a rhythmic pattern reminiscent of Gregorian chants. This technique evokes a sense of sacred text and liturgical practice, further emphasizing the theological underpinnings of the work.
Both the paintings and drawings strive for equilibrium through contrasting actions and spatial relationships. This balance serves as a metaphor for finding stillness and peace amidst life's chaos, a common theme in theological contemplation.
The monochromatic palette employed in these works enhances their minimalist aesthetic, allowing viewers to focus on the subtle interplay of light, texture, and form. This simplicity encourages a meditative viewing experience, inviting observers to reflect on their own spiritual journey.
By incorporating elements of mirror art and reflection, the artist creates a dialogue between the viewer and the artwork, blurring the lines between observer and observed. This interactive aspect of the pieces encourages self-reflection and introspection, key components of theological inquiry.
Through this body of work, the artist explores the intersection of minimal art, monochromatic aesthetics, and spiritual reflection, using the Hanford Reach as a metaphorical and literal source of inspiration. The result is a series of contemplative pieces that invite viewers to pause, reflect, and consider their place in the grand tapestry of existence.
