Gregory Murdock was born in 1954 in Saskatoon. He credits a trip to
Europe following high school for kindling his passion to become an
artist. When he returned from Europe, he enrolled in the faculty of Fine
Arts at the University of Saskatchewan, studying ceramics, sculpture
and drawing. He then travelled to Mexico to study bronze at the
Instituto Allende in San Miguel Allende. In 1979 he came to Vancouver to
study at the Emily Carr College of Art and Design. Here, he expanded
his architectural vision and imagery, created installations and
discovered the potential of “spackle” as a medium and surface to explore
in both his two-and three-dimensional works. He is known for his
fresco-like mixed-media works that elegantly explore surface, space and
form with references to both external and internal worlds. His work can
be found in the Vancouver Art Gallery, Musée d’art Contemporain,
Montreal, and the Art Institute of Chicago.
Nanoose, 2017
three-plate etching (2 copper, 1 plexiglass), ed. 60
image: 10” x 23”
paper: 14” x 27”
$750.00
Syncopations 1, 2007
three-plate etching, ed. 30
image: 27.5” x 23.5”
paper: 33.5” x 30”
$1200.00
Syncopations 2, 2007
two-plate etching, chine colle, ed. 30
image: 27.5” x 23.5”
paper: 33.5” x 30”
$1200.00
Syncopations 1 and Syncopations 2 allude to the
unusual rhythms cast between forms of the architecturally referenced
pieces the artist has been working with. The variations imposed by a
variety of etching processes informs the imagery in both works and
enables Murdock’s calculating aesthetic sensibility to shine. The
contrast of dense form and rich surface markings combine with an
architectonic structure adding intrigue and mystery to both prints.
Icons of past works find their way to the surface in a rich visual
syncopation in tune with the creative and artistic edge that is Murdock
as his graphic best.
Etching is an example of intaglio. Intaglio derives its name from the
Italian intagliare, meaning to incise. Copper or zinc plates have a
waxy ground applied to them, and an incising tool called a scribe is
used to penetrate the ground. The plate is immersed in an acid bath,
where the acid bites into the incised lines to emphasize them. When the
plate is ready for inking, the ground is removed and the entire plate is
covered in ink. The plate is then wiped clean on the surface and
printed on damp paper, where the paper is forced into the etched lines
and picks up the remaining ink, resulting in an image.
Shoreline Ghosts, 2005
five-plate etching, retouched, ed. 50
image: 22” x 35.5”
paper: 43.5” x 30”
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Evening Passage, 2003
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