Ethan Murrow, The Old Aristocratic Colours Breaking Through, 2013 |
On my way past the La Galerie Particulière
the other night on my bike, I glanced through the crowd to glimpse Ethan
Murrow’s images. I thought, from a distance I was looking at photographs. When
I went back for a closer look, I was pleasantly surprised to find huge graphite
on paper drawings, huge because this is a medium usually used for more intimate
scale pictures. Murrow depicts a strange, archaic America inspired by, and at
times, depicting well known American literary myths and legends, paintings and
historical events. As a lady from the gallery walked around the exhibition
identifying the references and influences in each work for me, I wondered if
most viewers would have even heard of the names and narratives, let alone
recognize them in Murrow’s drawings.
Ethan Murrow, The Boast of Clotilde, 2013 |
Nevertheless, when standing before an image
such as Moby Dick, 2013, the
ambiguities are not in the subject matter of the image. If only thanks to the
title we are immediately made aware of the grand narrative of adventure and
discovery that is woven through the exhibition. In spite of the realist detail
of the image, there is always something surreal in Murrow’s drawings. The title
Moby Dick, does not sit well with four
wheel drive vehicles, in a canyon, on the shores of a lake that has no depth,
tiny figures holding umbrellas or wearing hard hats, with no rain and no reason for protective headwear. And when an elephant falls into
the water in The Old Aristocratic Colours
Breaking though, he falls off a raft that could never have held him. We
know we are in the world of magic and miracles with this image. And yet, the
title of this drawing is taken from Alexis de Tocqueville’s Democracy in America: “The surface of
American society is covered with a layer of democratic paint, but from time to
time one can see the old aristocratic colours breaking through”. Thus, we become alerted to the multiple
layers of works that are all at once political, playful, art historical and technically precise.
Ethan Murrow, Early Warning System, 2013 |
Many of the images contain antiquated and
clearly malfunctioning machines: helicopters, cars, or in Early Warning System, a chimpanzee sits on a raft surrounded by an infinite
stretch of water, accompanied by an unwieldy machine that could not possibly
get him to where he is going. This is espite the face that his raft is named “ABLE.”
When technology is introduced, the historical becomes the arcane, in narratives
that are made unreal, and filled with the promise of failure. The narratives
that Murrow references, revises, critiques and makes fun of are always about
the discovery and colonization of America. They are about the formation of the
American identity, its flaws and foibles, built as it is on conspiracies, whale
sightings, UFOs, supernatural and animal life.
Ethan Murrow, Kingdom, 2013 |
What I loved most about Murrow’s drawings
was their complex layers, as I say, not all of which I had access to. These
images discourse through narratives of discovery, the movies, the Colonization
of the American West, in cutting and simultaneously, highly entertaining
depictions. Similarly, Murrow’s drawings are technically superb: painstakingly
detailed in their reach for photographic realism in the form of graphite
drawings.
All images courtesy the artist and La galerie particulière
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