Nathaniel Murray’s installations are a playground for the eye and mind. Leading the viewer to his colonies of refugee plastic, he invites the viewer to consider it either as a whole or in parts. Gleamings off pails and tubing remind him of childhood toys, and in the whole bulk of it he sees a face, an atom, a galaxy. Though still an inviting challenge, Murray’s work has none of the
foreboding aloofness of much contemporary art. He invites the audience to engage in the same free-association and creative speculation the artist underwent building his sculpture. On paper, Murray’s messages are more definite, but still approachable. Disparate elements are combined into wholes so coherent, it is hard to imagine their parts put to another use; yet they maintain a dreamlike quality, despite the illusion of lucidity. Each is a confined system or gestalt with its own recognizable character or essence; any one might contain a cartoon personality, a visual pun, or an abstracted mood. Like all Murray’s work, the collages are animated by affection for their subject, and the joyful of free invention. The supreme virtue of Murray’s oeuvre is the validation it gives to the indefinite aspects of mental life: meandering lines of thought, silly associations, sympathetic fallacies, such things at the first beginnings of creativity. -Joseph Clark
Nathaniel Murray studied Digital Arts at Bowling Green State University and SACI (Studio Arts Center International) Florence, Italy. Originally from Columbus, Ohio. He’s currently creating installation work and playing pinball at SUPERELECTRIC in the 78th St. Studios Building in Cleveland, Ohio.