ROSALIE MEETS HENRI AT THE FISH MARKETS

On display in the Outside Sculpture Plinths at Gallery Lane Cove and Creative Studios. February to May 2025

The Architects Negative IV, V and Rosalie Meets Henri at the Fish Market II.

For more information

https://www.gallerylanecove.com.au/current-sculpture-plinth-glc



I considered my dead filed architectural plans as a midden, to use and

recycle. The title refers to Rosalie Gascoigne’s ordered collection of

found objects and Henri Matisse’s torn collages, here as a half dozen of

oysters. This work was the focus in the series of seven.

SCROLL VI

SCROLL VI has been selected finalist for the Northern Beaches 2025 Artist’s Book Award, Manly Library – Creative Library from 5- 27 April

Every two years the Northern Beaches Library Service holds an Artists’ Book Award attracting entries from around the world. Books are selected from the entries to form an exhibition. From the exhibited books, judges then select books to be acquired.

For more information

https://www.northernbeaches.nsw.gov.au/library/whats/adults-and-seniors/artists-book-award

SCROLL VI, is part of the series Brief Statement of Facts, with notes from William Hovell’s journal 1824-25, more

https://www.romurray.com.au/#/brief-statement-of-facts-2024/

ALTITUDE

ALTITUDE is an exhibition of selected works from artist members of Modern Art Projects Blue Mountains. The artists are inspired by the environments they live and work in ranging from Greater Western Sydney to Central Western NSW.

One Thousand Metre Contour (detail), 2025 Lino print on six pianola rolls

1st April to 24th April 2025, Fountain Court NSW Parliament House

6 Macquarie Street Sydney NSW. Opening Hours Monday to Friday 9am- 5pm.
Sponsored by Trish Doyle MP, Member for Blue Mountains, Parliamentary Secretary for Climate Change, Energy, the Environment and Heritage.

Curated by: Miriam Williamson @modernartprojects | www.modernartprojects.org
One Thousand Metre Contour references topographic maps of Katoomba and Hampton locating our farm on the Coxs River in the Kanimbla Valley, in relationship to Medlow Bath and the escarpments of both at 1000m.

Tiliqua Tiliqua Booth 14

5 days at Sydney Contemporary at Carriage Works was exciting this year in the PAPER Room. Tiliqua Tiliqua also had the Melbourne printmaker Marco Lucio encouraging visibility of my Lino printed pianola roll Murrumbidgee and print Turpentine. At Tiliqua Studio I lease the etching press, and assisted by Dr Hashim Ali.

Also as part of Booth 14 were the studio directors Kate Riley and Felix Oppen, and the local artists Michelle Connolly, Katika Schultz, Fiona Ferguson and Brigitta Summers.

Bouddi Peninsula Arts Trail 5th-6th October

I’d like to thank the art and craft community at Killcare for being so welcoming and for encouraging me to be part of the Arts Trail this year. The organisation and support makes this a professional event across many disciplines and an important way for artists to share their work. Thanks for the wine, laughs and help in hanging works. Hope it is a fantastic event for artists and visitors.

Thank you to the sponsors:

Ray White Killcare

The Fat Goose Cafe Killcare



https://bouddipeninsulaartstrail.org

Pianola Playing with Relief Printed Rolls

Finding a pianola in good working order is not an opportunity to be missed. Ro playing Rain Drops Keep Falling on my Head (tempo slightly slow) at Wildes Meadow.

A planned musical art event, will be performed at the Gertrude Abbott Aged Care in Surry Hills, Wednesday 2nd October.

Spring In Sydney, Canberra and Killcare

Bouddi I, II, III (detail) 2023 Lino print on pianola roll

EVERY COLOUR  group Show Articulate Project Space 497 Parramatta Rd Leichhardt 3- 25 August

Murrumbidgee (green) detail 2024, Lino print on pianola roll

PRINTMAKER SHOW ‘24 Tiliqua Tiliqua 257 Enmore Rd, Enmore, 15 Aug - 2 Sep

Molonglo, 2024, Lino print on paper 76x57cm

At Sydney Contemporary Carriageworks 5-8 September, I will be joining Tiliqua Tiliqua (where I print) in the Paper Room more  

As part of Canberra Art Biennial this year between 28 September - 27 October, there will be two installations:  My work “Brief Statement of Facts”, of eleven relief printed pianola rolls about the 1824 Hume and Hovell’s expedition from Lake George to Port Phillip, will be transferred to the glass facade of 16 Marcus Clarke Street. 

And, continuing our work on the critically endangered Regent honeyeater, Murray and Burgess will exhibit our work JUST HOLDING OUT in the National Arboretum. 

The World Is Changing Within My Lifetime, (detail) 2023, Lino print on pianola roll

 

Over the October long weekend, I will open my house at 2 Linda Street Killcare as part of the Bouddi Peninsula Art Trail 5-6 October to show my current relief prints amongst older works.

Instagram: @romurray

ARCHITECTURE AND BEYOND

ARCHITECTURE AND BEYOND a group show at Willoughby Council Incinerator Art Space 29 May- 12 June, with fellow artists Mandy Burgess, Michelle Le Dain, Sarah Fitzgerald, Lisa Pang, Nicola McClelland, playfully exploring the legacy of Marion Mahony Griffin and Walter Burley Griffin.

Forest, 2021, Lino Print

Reflected in the Glass and Chevron Doors, 2021, Lino Print

Exhibition room sheet and Essay by Lisa Pang - read here.

NORTH SYDNEY ART PRIZE

Sadly many exhibitions were postponed last year due to Covid but it’s great to be able to exhibit again. I was pleased to have 3 works included in the North Sydney Art Prize on show at the historic Coal Loader Site at Ball’s Head.

The Earth is Changing (within my Lifetime), 2022, an installation of lino prints on pianola rolls.

Through the Tunnel 2022, plywood, steel, acrylic paint

And an installation by Murray and Burgess Once Was 2022, fallen timber, fabric, steel, acrylic paint


In the Company of Trees 2022, fallen timber, fabric, steel, acrylic paint.
An installation by Murray and Burgess at Inside Outside Sculpture Plinth at Ted Mack Civic Park North Sydney.


M U R R A Y A N D B U R G E S S

Also changes for Mandy Burgess and I. We are excited with the formalisation of our creative partnership based at Mt Victoria, with our new website and our new email address (murrayandburgess@murrayandburgess.com.au). Since meeting up again at NAS 2015, we have collaborated on many projects and group exhibitions, and been selected for many art prizes and staged three solo exhibitions.

Recently we were selected finalists for Sculpture at Sawmillers McMahons Point now rescheduled 18-27 February 2022 with our work MISE-EN-ABYME (YELLOW), which repeats our previous work in BLUE TOO shown at Kandos with MAPBM in FEB-April 2021. This work is a mini forest of dead trees echoing the more and more occurrence of natural disasters due to climate change.

murrayburgess.png

Contour556, Canberra Biennial in October 2022. Our work FALLEN FOREST highlights the plight of endangered woodland birds, particularly the Regent honeyeater, whose near extinction is being caused by the catastrophic reduction of its habitat by drought, land clearing and flooding.

Concept drawing Fallen Forest

Concept drawing Fallen Forest

We are also thrilled to be selected for The Blue Mountains Cultural Centre Expose Program, which gives exhibition opportunities to emerging and mid-career local artists. We will exhibit CALL AND RESPONSE: A SEARCH FOR BIRDSONG IN THE FALLEN FOREST 1 December 2022-29 January 2023.

This exhibition is a development of the Contour556 work exploring new professional terrain: forming links with conservation groups and applying for a grant to collaborate with a local composer and musicians. Our intention with this eco-arts project is direct attention for collaborator organisations: Blue Mountains World Heritage Institute, Birdlife Australia, Taronga Zoo, and their programs supporting the survival of the critically endangered regent honeyeater.

Murray and Burgess, Call and Response (excerpt) score drawing

Murray and Burgess, Call and Response (excerpt) score drawing

A D A P T I O N A N D C O L L A B O R A T I O N

These times of COVID and isolation have meant adaption. Plans are made, remade, cancelled, meetings and seeing online. My group exhibition Architecture and Beyond, about the architectural couple Marion Mahoney and Walter Burley Griffin, was intended to coincide with Marion’s 150 birthday at the Griffin designed Incinerator Willoughby, is now rescheduled from August to 2022

RED//RED BLUE//BLUE//BLUE//RED

A site responsive wall construction in 100 and 150 mm PVC strips and nails, 240cm high x 750cm long, and 15 unique lino prints on 300gsm Somerset Satin White paper. Read More…

Contour 556, Canberra

Murray and Burgess are installing their work UN-FOREST, mini dead forest of eleven trees, surrounded by siren yellow skirts. Contour 556 from 10 to 31 October. Installed Northbourne Ave (near Capitol Hill), Canberra.

contour556.jpg

Originally titled, FORTRESS 2019 seven trees, no longer protected by man-made climate change, as evidence of this year’s droughts, floods and bushfires.

XROADS

Group Exhibition at Chrissie Cotter Gallery, sponsored by InnerWest Council.

(L to R) Ro Murray, Sarah Fitzgerald, Michelle le Dain, Mandy Burgess, Nicola McClelland (in lock down in Melbourne)

(L to R) Ro Murray, Sarah Fitzgerald, Michelle le Dain, Mandy Burgess, Nicola McClelland (in lock down in Melbourne)

The exhibition is about points of intersection, divergence and changing circumstances. Through sculpture, printmaking, photography and installation the artists reflect the impact of change, individually and as global citizens. This exhibition was conceived prior to the COVID19 pandemic and anticipates the current situation the world is in. Change and uncertainty are all around us and the road we thought was clearly laid out has disappeared. This is an exceptional time for artists to exhibit and exchange ideas through artistic practice.

McClelland “Call and Response” poster, Murray “Heartbeats” lino prints

McClelland “Call and Response” poster, Murray “Heartbeats” lino prints

March 2020

There was a busy start to 2020 with three installations before Covid-19 closed down physical access to exhibition spaces and overseas travel cancelled. As with plans for many people, the exhibition-residency for Murray and Burgess in Paris at Factory 49 May-June was cancelled.

#fuelled, diptych wall weaving at SLOT window space Redfern over January

#fuelled, diptych wall weaving at SLOT window space Redfern over January

REDRED BLACKBLACK BLACKBLACK BLUE Four wall weavings in PVC tape Gallery4, Five Walls Footscray Melbourne, February 22th – March 9th, 2019

REDRED BLACKBLACK BLACKBLACK BLUE Four wall weavings in PVC tape Gallery4, Five Walls Footscray Melbourne, February 22th – March 9th, 2019

RedRed BlackBlack BlackBlack Blue is an installation named after a poem. Abstract Poem, written by Robert Lax (1967) is itself a response to the paintings of Ad Reinhardt. On a white page, the poem appears as a slightly unstable vertical tower of words. With more white space than black text, much more is unsaid than said. It is a poem to be seen. Read aloud, as it will be to accompany the exhibition, it evokes the sensations of colour; of rolling reds held against and between the clipped drips of black and of blue, spoken colour as visualisation, pattern and syllabic syncopation. Three colour-words, four columns, and an internal variation form the rhythmic structure.

The parallels between Murray’s work and Lax’s poetry are apparent; not only as a material, visual echo of language, but also in the clear intent to work reductively. In common there is a distillation of communication by using the simplest elements and weighing the spaces between them. Whether single colours or single words, they are presented with measure, equality and economy. 

Lax has been described as a Concrete poet, yet also as an Abstract Minimalist. Murray’s previous geometric works were eloquent with the language of protest. Eschewing the lyrical and the expressive in favour of the blunt reality of colour, line and plane, paradoxically, creates an opening, the space that Murray will work in to create this installation. She describes it as a way of working within strict parameters, through a process that is open to chance. Are Lax’s words sufficient to convey the myriad nuances of a visual art – involving scale, character of edges, straightness of line, texture of material and adaptations to the vagaries of site? These are the details that betray human interaction and continue Reinhardt’s discourse on the divide between art and life.

Lisa Sharp, December 2019

TIPPING POINT an installation of 100 purlins by Murray and Burgess at Factory49 5-29 March

TIPPING POINT an installation of 100 purlins by Murray and Burgess at Factory49 5-29 March

Tipping point is the critical point in a situation, process, or system beyond which a significant and often unstoppable effect or change takes place. Merriam-Webster Dictionary.

Murray and Burgess reuse wood, once-were-trees, in all their weighty imperfection.

Yellow purlins of wood are suspended in air, temporarily stalled, waiting, their inevitable crashing to ground deferred while some decision or action can take place. Some have already hit ground, about-to-fall, poised in their unbalance, their point of tipping.

Compressed in-between spaces, making difficult passage between the in-your-face yellow. 

Diagonal, something wrong, the complex grove of lines, grids, bar charts demonstrating the overheating. The verticality of human endeavour overturning. An alert to take action.

November Exhibition Opening - Factory49

Factory 49 Opening 6-8pm Wednesday 6 November 2019

Main gallery: Black Vertical and Red Horizontal (lino print series)

Main gallery: Black Vertical and Red Horizontal (lino print series)

This pairing of Factory 49’s two exhibition spaces enables artist Ro Murray to speak expansively from a reductive visual vocabulary made up of of dualities and the spaces between them. Returning to a signature colour palette of black and red on white, with rectilinearity reduced to horizontal and vertical placements, the distinct processes of printmaking and weaving interact unexpectedly as an anchor of human scale in site-specific installations. The creation of these transient interior spaces operates as a platform for an ephemeral architecture of protest. The spare language of dichotomy, presented in confined spaces suggests an urgent narrative, of stark choices ahead. Crosshairs is the title of an ongoing linoprint series, and the powerful colour and calligraphic constructions in the Main Showroom introduce the show and conceptually, the notion of targets (think climate action targets of current political debate). This series, Black Vertical and Red Horizontal suggests the vigour and irresolute nature of that debate as compositions veer between simple interactions of one or two elements to complex hashtag nests of multiple layers and pictorial strategies. Murray stresses the presence and place for imperfection in the work and pictorially, these point to imperfect humanity and the role of learning and mistakes. Another influence on Murray’s practice is Bauhaus weaver Anni Albers. Albers wove from a unique position, presenting historically marginalised womens’ handcrafted and textile traditions as equally modernist idioms. Up scaling the woven grid to bodily scale via a PVC installation situates weaving in a contemporaneity in which humans engage with environmental outcomes of industrialised modernity. Red line at fifteen hundred in the smaller Project Space is described by Murray as both a direction for art installation and a reference alluding to danger ahead. Its context here conflates the gallery hanging eye line with the weft (usually horizontal and secondary element of setting up a weave), again inviting a consideration of human scale through an altered viewing perspective, addressed within the compressed space of a small room. These resolutely linear works and interventions play with dualities, grid, scale, perspective and space as metaphors for confronting and reflecting upon the place and role of humans in shaping the future of the world. Perhaps, and as Lynne Cooke describes of Anni Albers, this means, of prioritizing the experiential over the didactic provides non-objective art with a way in which protest can meet pictorial abstraction, technology and architecture. - Lisa Sharp October 2019

Office Project Space: Red Line at Fifteen Hundred (wall weaving work)

Office Project Space: Red Line at Fifteen Hundred (wall weaving work)