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A random spatter of paint or an accurate view of stars as they will appear on December 21, 2012, looking southeast from the Egyptian city of Aswan? A series of structures monitors the situation and architecturally mimics it. Ectoplasmic entities hover, each haunting its own solitary perch -- though one has abandoned its post to make a friend.
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Core material leaks from a diagram, attracting amorphous vehicles and protean beings to visit, probe, and feed. A lonely structure offers the opportunity to depart and arrive, and houses at its end a device which can both transmit and receive. Fantasy temples or science-fiction apparatuses rise in the distance.
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The Liberty Cap crowns protean beings as a symbol of simultaneous freedom and other-ness (while being just as much a Smurf's hat or European toadstool). A finite world inside a shell is set up with breakable boundaries to recall a historical print that deals with the scientist/seeker's mystical quest for what might be beyond the beyond.
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A binary-coded, pixel art message to the universe, broadcast in 1974 from the Arecibo Radio Telescope announced our existence and longed for a response. The loneliness of this missive is here surrounded by models of the cosmos and abstract painting passages that wish to become alien entities able to receive the call.
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A cosmic creation myth that emanates from the infinity of the Loch Ness Monster swallowing its own tail. Words from channeled, alchemical languages inhabit the celestial tiers of enlightened, three-eyed Mario clouds. The drips of gestural painting become a double helix, while the materiality of pure abstraction is bottled as a magic potion.
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Images from sightings of cryptids, animals that may or may not exist, live in various levels of obscurity in this landscape. "Heaven", written in Quenya-mode Tengwar, a language created for a people that never existed, is completely obscured beneath a tide of rainbow.
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Medieval Europe's Bigfoot, the Woodwose, sends the Arecibo Message into the cosmos to desperately announce his existence to and invite contact from other worlds. The human cannonball undertakes a dangeous mission of exploration, and various cosmic creatures interact before the visage of the Marlin of the Future.
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The spilling of artistic entrails on top of a patterned materia prima inspires profound and preposterous visions of the cosmos.
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An action painting divination combining Platonic, shell-inside-a-shell conceptions of the universe with middle-school-science-book diagrams of atmospheric layers.
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The first in a series of paintings that use action painting as a divination tool, and are concerned with the conception of 2012 as a date of the end of time and the kind of mind space that will exist post-2012.
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The next step after initial discovery and exploration could be said to be temporary settlement -- setting up camp. This installation deals with exploration, both terrestrial and psychedelic, and perhaps proposes an example of that next step.
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Science and magic, chemistry and alchemy, medicine and fantasy. The materials of painting are bottled as potions, elixirs, antidotes, reagents, and patent-medicines.
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An installation of the apartment of the Dragnet character "Blueboy". It included reading material, sugar cubes, and rainbow glasses for viewing videos from the Redeeming Blue Boy series as well as the original Dragnet episode.
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The eschatology of the Mayans, Terrence McKenna, and David Bowie come together in the performance of "Five Years" on the date exactly five years before the predicted end of the world.
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Bathrobe Druid, a self-discovering and self-undermining cleric, intuits his way through a ritual that he is inventing as he is implementing.
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In
this piece, Tricycle Bicycle Cycle conjures up childlike joy,
nostalgia, and oneness with the cosmos, while coyly dialoguing with the
history of Earth Art (but without all the bulldozers). Tricycle Bicycle
Cycle plays in leaves to their song "Do You Remember? (Face)".
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The story of Dragnet's "Blue Boy" is retold in a video, an installation, and two performances, including dynamic lighting effects viewed by the audience through glasses that break light into rainbows. The performances culminated in a psychedelic noise collaborative concert between Blue Boy and Paper Rad's Jacob Ciocci.
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Ritualistic
contact with extraterrestrials inspires a series of works in the
various media of video, websites, informative zines, sculpture, music
composition, and performative pilgrimage in the aliens' honor.
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Ryan Murray, infinipus@gmail.com Curriculum Vitae | Artist Statement
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