|A line describing nothings, May 2008, the LAB, Foley St, Dublin.||home contact|
projects often take the form of invitations. In Memorious (2006), the
invitation was an advertisement, in which the artist offered part of his
memory to hold the recollection of another. During the next year, Auto
Da Fe (2007), was an invitation to believe - as Murnaghan created an artwork,
in the soon-to-be-demolished Pallas Heights Gallery, that no one would
be allowed to see. Sitting between belief, knowledge and faith and drawing
on the generosity of exchange, this latest project,'A Line Describing
Nothings', continued these themes by asking people to undertake 'a past
life regression', and then to assist in the drawing of artworks based
on the recovered, or discovered 'memories'. Wonderful, and somehow surreal,
these works are not attempts to solve the mysteries and myths of past
lives, collective memory and master narratives, but are instead simply
responses to the information received.
made during process: Pencil drawings on paper.
A red line cuts through the walls of the gallery, changing form from pure light to metal and plastic. A mandala spins like a windmill, a massive ceiling fan changes the air over the viewer. The works exhibit a form of flawed, ontological candor. Invisible forces play subtle parts in holding the things together. Dry ice, magnetism and light are used to convey concepts relating to things insubstantial yet persistent, which was a catalyst for this body of work, allowing consideration of something just beyond our peripheral knowing.
I know where
I am, but I do not feel as though Im at the spot where I find myself...then
the body separates itself from thought, the individual breaks the boundary
of his skin and occupies the other side of his senses. He tries to look
at himself from any point whatever in space. He feels himself becoming
space, dark space where things cannot be put.... He is similar, not similar
Roger Caillois , Mimétisme et Psychasthénie Légendaire (1935), in Michael Taussig, Mimesis and Alterity: A Particular History of the Senses (New York: Routledge, 1993), p. 34
many thanks to Sheena Barrett and Keith Kavanagh for their help in realising