woven polyhedra

In an essay accompanying the exhibition, Lucie McLaughlin observes: “Instead of conceptualising or attempting to classify McMurray’s work, its unalloyed colour, material control and subject implies formalism balanced with a disintegration through human influence. Where at first the viewer may understand a need for perfection and mathematical beauty, the material choices; stiff yarns, wide ribbon and graphite, drawn marks ‘that tell of process, time and concentration’ reflect imperfectly in flickering lines a ‘tremor of form,’ like the frayed ends of Ode To Irma Blank or the uneven ink surfaces in Blue Cutcomb. Using mathematics as a process of drawing, and a reconstituting of drawing as process to practice, McMurray’s ‘interaction between mind and object, or idea’ arranges the components of mental fabric directed at the impossibility of imagining a fixed goal, therefore uncovering an abstract completeness or absolute.”